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LIBRARY OF CONGRESS 

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015 937 047 1 



PS 3509 
.B5 F4 
1912 
Copy 1 



K.opyrigll 1912 by A. B. EBIN 
« 



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FEDIA" 



A COMEDY IN THREE ACTS, FOUR SCENES. FROM MODERN UFE IN 
NEW YORK 



By ALEX. B. EBIN 

Author of "Arbitration," "Roosez-elt," "Portia in Politics^ 
"Marriageahles," "The Com promising Photo," Etc. 



Based in Part on Tolstoy's Tragedy "THE LIVING CORPSE" 
EUROPES SENSATIONAL PLAY OF 1912 



CAST OF CHARACTERS: 

Fedia Protosov . . . . a Russian Noble, living in New York 

Liza His Wife, living in New York 

Sash A. . .' Liza's Sister, living in New York 

Victor Karenin A friend of the family 

Count Asrezkov A friend of both families 

Masha A young chorus girl 

Alexandrove An intellectual traimp 

Berns A Secret Service man 

KOROTKOFF) p^jj^,3 j^j^^j^ 

Stahoff ) 

The Judge, Clerk of the Court, District Attorney, Usher 
and Secretary; a Coroner, Police, Spectators, Chorus Girls 
and Jury of Twelve. 



2 "FED! A'' 

FIRST ACT. 
A high class Cafe in the New York Tenderloin. 

SECOND ACT. 

Fedia Protosov's poor lodgings. 

Both scenes of this Act take place in the same room. 
The Curtain is dropped for a moment to indicate the passing 
of time. 

THIRD ACT. 
Ten years later. The Court House, New York City. 
TIME: The present, Place, New York. 



NOTICE: Neatly all the minor characters can easily be 
doubled. The stage hands and musicians to constitute 
the jury. 



)CI,D 31790 



'^/^ ' ACT I. 

Palm Garden in a high-class Tenderloin Cafe. 
Flowers, palms and brilliant lights. 

Two exits, upper and lower entrance on the right and 
one only upper entrance on the left. 

In the background C, at the extreme end, a cosy 
couch, surrounded by Oriental tapestries. 

At both sides, right and left of the stage, raised plat- 
form with drinking tables for visitors. 

Electric light bulbs on the palm trees between the 
tables. 

At the extreme end of stage, nearest audience on the 
left is Fedia's table, chairs near it [C. & L.] 

In pails of ice on the floor wines in variety. The 
table contains but the wine in use at the moment, and 
two kinds of glasses, four in all. 

The table is empty as the Curtain rises, but the chairs 
are bent over to show that it is occupied. 

At the small tables visitors, men and women, in even- 
ing dress, and high spirits, most of the men are intoxi- 
cated. Songs behind the scenes before the Curtain rises. 
The centre of stage is kept free for the dancers. On 
a small table nearest audience on the right are seated 
Count Abrezkov and Sasha. Both of them are in their 
out of door clothes; Sasha is deeply vieled, but her figure 
shows up to advantage under her closely fitted coat. 

Count Abrezkov is a bachelor of 60. An old noble- 
man, distinguished appearance and lofty superiority; tall 
solderly lookng, plenty of skylight on his head. 

Both of them are eagerly and nervously watching in 
the direction of the entranjces, the faces of new arrivals, 
when the music stops, Sasha breaks the silence. 
SASHA [Nervously]. Can I be recognized under this 
heavy veil? 

ABREZKOV [Eying her closely]. No, not you, but I am 
completely compromised. Just consider my predicament. 
SASHA [Nervously]. You can explain. ' 

ABREZKOV [Harshly]. I can explain nothing, and it is 
all for nothing. . .Between Fedia and his wife, your sister, all 
is over. 



4 "FEDIA" 

SASHA [Protestingly]. I hope not, I am sure not. 

ABREZKOV [Sharply]. He has written her very plainly 
that he will never return. . . 

SASHA [Snapping her fingers]. He has written her 
many things. . .Fedia has but one failing— he drinks — in all 
other respects he is a brilliant man. 

ABREZKOV [Hurt]. Brilliant is the word. . . [Waving his 
hand] . You want your mother and sister to wait until he has 
done away with everything, and introduced these chorus girls 
into his home? 

SASHA [Pleadingly]. He has none. 

ABREZKOV [Pointedly]. Possibly, possibly, none in par- 
ticular. He may fool you, but I know him and he knows it. 

SASHA [Airily]. Liza will forgive him, to err is human, 
to forgive, divine. 

ABREZKOV [I hope for the best, but if your sister were 
my daughter, I would make her leave him long ago. 

SASHA. How easily you say it. 

ABREZKOV [Plaintively]. No, it is not easy. . .It is not 
easy to see a friend divorced, but it is better than to ruin her 
whole young life. . . li only, if only he gave her a divorce. She 
is young, she may still be happy, her entire life is before her. 

SASHA [Emphatically]. Liza can't love another. 

ABREZKOV [Earnestly]. Why not, once free there are 
m.any good men who would jump at the chance. 

SASHA. It isn't fair, I know you are thinking of Karenin. 

ABREZKOV [Sharply]. Exactly ... They have known 
each other since childhood, and [emphatically] she loves 
him. 

SASHA [Protestingly]. A platonic friendship. . .at its 
best. 

ABREZKOV [Knowingly]. Only give them the chance. 

SA'SHA [Complainingly]. All the more reason why 
mother should not have invited Karenin into the house...! 
heard her telephoning and my blood boiled!. . . 

ABREZKOV [Soothingly]. My regret is that she has not 
done it sooner. . .Between Fedia and Liza all is ended, their 
married life has been doomed long ago. 

SASHA [Wth passion]. You are a pessimist, I hate pes- 
simists !. . . 

ABREZKOV [Persuasively]. Believe me, he will not re- 
turn. . .He could not after all this racket and high jinks. He 
took an oath in my presence and that of your mother that if 



ACT ONE 5 

and when he goes on a spree again, he will deprive bimsdf 
of all his rights as a husband, and give her full liberty. 
SASH A. What liberty can she have while married? 
ABREZKOV [Emphatically]. He promised a divorce and 
we will insist... He is a brute while drunk, and is past re- 
demption, a divorce is the only logical thing!... 

SASHA [Critically]. A divorce, indeed... A divorce with 
its terrible ordeal — the army of lawyers and mud throwers, 
the lies, falsehoods, abominations and notoriety which such a 
procedure necessitates ! . . . 

ABREZKOV. Divorce is unpleasant, but it has its re- 
deeming qualities. I will not lift my little finger to bring 
Fedia back. It is not practical to try and mend your china 
wlien it's cracked as mucli as Fedia, — a man swallowing his 
death in tumblers on the instalment plan. 

SASHA. When a woman lias made her bed, she must lie 
in it. Liza and Fedia have entered into a contract, divine or 
not, it binds them. [Pause] Fedia drinks on account of busi- 
ness troubles, he should be given another chance. 

ABREZKOV. He deserves nothing but wholesale con- 
tempt. I am not analyzing the cause of his drinking, I con- 
tent myself with facts, with things as they are and as they 
ought to be. [Snapping his fingers], I will not allow this 
drunkard, this degenerate, to rob your sister of her life's 
happiness. 

SASHA [Pleadingly]. Liza should weaf her cross for the 
sake of social duty. 

Fedia is a nice man. . . [Eying him with compressed lips]*. 

ABREZKOV [Vigorously]. Too bad he doesn't know 

it. . .Your sister should not be made to live an unhappy life 

for the sake of setting an example to a world that abhors 

it!... 

[Pleadingly]. Karenin and Liza love each other, and life 
stretches out long and wide before them. Come let us go 
home. [Makes a movement]. 

SASHA [Who is in love with Karenin, but wouldn't 
openly admit it]. 

You don't know how your expressions cut through me 
like a knife. 

I am grateful to you for accompanying me, but if this is 
your frame of mind, I will see him alone. [Both exit]. 

[Enter Stahoff and Korotkoff in ruffled clothes. Both 
men are intoxicated, their faces flushed, steadying them- 



6 "FEDIA" 

selves on their feet, supporting each other from time to time 
as they speak]. 

KOROTKOFF [Laughing heartily, almost hysterically. 
Supporting himself on his companion]. 

Fedia has been telling me one of his funny stories. Ha, 
ha, ha! There is so much humor in it. Smash my topper, 
I can't help laughing!. .. [Laughing convulsively]. 

STAHOFF [Joining in the laugh drunkenly]. Tell it to 
me [nudging him] come on ! Damn me!... 

KOROTKOFF [Waving him off]. No, I can't repeat, 
and you wouldn't appreciate it,... You are altogether too 
sober!. . . 

STAHOFF [Drunkenly]. What's the odds!... Try me, 
just try me! [Pause]. It's not chummy, damn me!... 

KOROTKOFF [Drunkenly]. His uncle sent him two 
thousand dollars to pay taxes and interest on his estate, and 
what do you think? His first impulse actually was to pay 
it!... 

STAHOFF [Drunkenly]. Fedia is a cross breed, his first 
impulse usually is to do the wrong thing, I've noticed it lots 
of times, damn me !. . . 

KOROTKOFF [Laughing]. But what is the use paying 
bills, says Fedia, when everything is mortgaged to the full, 
anyway? Smash my topper! 

STAHOFF [Drunkenly]. Paying bills is an old-fashioned 
idea. I know it without Fedia, . .1 am a real thoroughbred, 
I am, damn me ! . . . 

KOROTKOFF. I'll put the bills away, said Fedia, where' 
no one could see them, and. . .1 will feel as though they had 
been paid. He took the bit into his mouth, bolted like blazes 
. . .and. . .came here!. . . 

STAHOFF [Laughing]. And yet his mother-in-law calls 
him a degenerate. . .His affairs are in bad shape and no won- 
der — money melts under his fingers!... 

KOROTKOFF [Reflectively]. Considermg the amount of 
final bottles we drank together, you and I have contributed a 
good deal towards the melting. 

STAHOFF. His mother-in-law is extremely anxious 
about his wife's future, and the harder she tries to make him 
remember, the quicker he forgets ... nothing ever happens to 
Fedia until he gets home. 



ACT ONE 7 

KOROTKOFF [Playfully]. Yes, his wife is a darling. . . 
Ills sister-in-law [kissing his fingers] an angel, but his mother- 
in-law!. .. [Gesticulating] Smash my topper!... 

STAHOFF [Drunkenly]. Yes, damn me! There is a bit 

of blood in him, and he don't like the curb. . . 
***** 

[Enter Fedia]. 

[Fedia at this period of his life is youthful [about 30], 
clean-shaven, with finely cut features and a romantic ex- 
pression in his deep set eyes. Thought and emotion have 
already marked their deep imprints, but there is almost a 
complete separation of passion and intellect, and the mastery 
of one to the exclusion of the other, as occasion requires, con- 
stitutes his main characteristic] 

[His attitude at the moment betrays a nervous system over- 
taxed by drink and worry, and barely under control. His 
evening clothes are disordered, waistcoat unbuttoned and face 
flushed; in spite of the excess of drink, an undercurrent of 
tenderness reveals itself in most of his actions.] 

FEDIA [Placing his arms on his two companions, right 
and left of him advancing with them towards C. of stage, 
nearest audience]. 

The absence of two such charming fellows like you was 
noticed in the dining room! Isn't it glorious here?. . .The 
wine, music and beautiful faces ! What a contrast to the 
horrid hfe from which I fled,- — mortgages and taxes, bills 
and responsibilities which I abhore ! It's like paradise com- 
pared with purgatory. .. [Walking with them towards his 
table]. Come, boys, let us celebrate this blissful state with 
a final bottle!. . . 

I Joining Fedia at the table, Korotkoff on his R., Stahoiif 
on his L.. Fedia C] 

KOROTKOFF [Drunkenly]. Which final bottle is this 
since this morning?. Stahoflf, you ought to know. 

STAHOFF. Blowed, if I do!... You counted them... 
I didn't... 

FEDIA [Fills their glasses, the three clink]. Here's to 
our new life of forgetfulness. .. [Drinks]. Isn't the wine 
magnificent? Isn't it inspiring? 

STAHOFF. The wine is divine!. [Lifting his glass]. To 
our wives and sweethearts, may they never meet. . . 

KOROTKOFF [Gesticulating]. Gad, if ever they do 
meet . . . Smash my topper ! . . . 



8 "FED I A' 

STAHOFF [Looking upwards.] This is heaven! [Spills 
some wine]. Oh, hell!. . . 

FEDIA [Dreamily]. To men of our social circle, there are 
three ways open: First, to make money and increase the 
vulgarities in which one lives, to work, work! 

STAHOFF [Gesticulating]. No, not for me, damn me! 

KOROTKOFF. Gee, I would do anything but work... 
anything!. . .Smash my topper!... 

FEDIA [Bus.]. Well, a man holding his success disgusts 
me. . .1 am not fit for such a career. . .Second, is to fight the 
existing order of things — for this one must be a hero, and 
heaven only knows I am not ! . . . 

STAHOFF [Gesticulating]. No, Fedia, damn me. let us 
be thankful for that!... 

KOROTKOFF [Merrily]. Heigho, tally-ho, no not a 
h-e-r-o-o ! . . . 

FEDIA : The third is to seek forgetfulness, to enjoy life — 
wine and woman, to breath to the full, the free and intox- 
icating air of Bohemian life. One is happy in this world, as 
one forgets the world, and this (embracing them again as 
they get up and have a dance together) you my friends are 
helping me to do and do well ! . . . 

STAHOFF [Admiringly]. Hasn't he got some style, and 
doesn't he talk fine!. ..If he is less than a scientist, Fedia is 
more than an ordinary man, damn me ! . . . 

KOROTKOFF [Playfully]. No one is more sober than 
Fedia drunk, nor more drunk than Fedia sober, although at 
times he's too damn preachy to suit me. 

■STAHOFF (Drunkenly.] You are right, tliere are lots of 
so-called sober men who were 'born drunk. Fedia is a 
drunkard who was born sober. It's this polished talk of his 
that makes him such a favorite with the girls, all the girls 
here tumble over themselves to get him. 

KOROTKOFF [Drunkenly to Fedia]. This Masha is just 
crazy about you. [Tapping him on the shoulder] You lucky 
dog! She is a peach! Smash my topper!... 

STAHOFF [Drunkenly]. She's hot stuflF, but Fedia can 
have her. Let me have another glass. .. [Noticing that the 
bottle is empty]. Get another bottle. 

FEDIA [Excitedly]. Boys, if you value my friendship, 
keep Masha's name out of your discussions, and in her pres- 
ence [pointing to table opposite] ; there is your place. 



ACT ONE 9 

*[Enter chorus in bright costumes and head decorations 
with Maha in the lead. Korotkoff and Stahoff comply with 
Fedia's request and move to table formerly occupied by Sasha 
and Abrezkov. Fedia returns to his table, eyeing Masha all 
the time. The chorus dance and sing [Selection]. Fedia 
throws a handful of gold to the dancers.] " 

STAHOFF. Jockeys, my boy, need watching [Excitedly]. 
But who won the last race? Who won the last race, damn 
me ? '■ 

KOROTKOFF. Sloan did, won it by a neck, I tell you. . . 
he is no good, if Kakus hadn't been sick... Smash my top- 
per ! . . . 

STAHOFF [Irritated]. Your "topper" is getting on my 
nerves [Pointing to head]. It's solid mahogany, damn me!. . . 

I tell you Sloan is the unbeaten paperweight champion 
jockey from England, and don't you forget it ! . . . 
[Masha joins Fedia centre.] 

FEDIA [Now feels his wine, looking lovingly at Masha]. 
The finish you put to your dancing is superb . . . You dance 
divinely, and your voice is music to my ears. . . [Embracing]. 
[To the waiter, as he passes]. Give drinks to all that want it, 
as they want it and charge it to me ! ! 
[The chorus girls, each in turn, trying in her own peculiar 

way to win Fedia over, walking past him, making eyes at 

him and touching him [picture]. 

FIRST CHORUS GIRL. If you will only cross your legs 
with your right hand and my hand with gold, I will 
tell you your fortune. Both the past as well as the future are 
open to me. I reveal all, all, if only you will cross my hand 
with gold. 

FEDIA [Protestingly[. Please leave me, I don't want my 
fortune told. 

SECOND CHORUS GIRL [Offering Fedia a footstool, 
eyeing him]. What is your name. .. [pause] .. .No, I didn't 
mean it, I know it but too well. . . [Pause]. You are not very 
amiable, but I will continue to hope. . . [Moves up stage]. 

THIRD CHORUS GIRL [Offering some candy]. Your 
style just catches a woman, you are welcome to a kiss. . . [Ex- 
tending her lips]. [Fedia does not respond.] 

FIRST CHORUS GIRL [Eying Fedia, getting hold of his 
hand] . 

*Tbe entire busiiiesfl of cborus and Dancing can be ©mitted. in (he interest of eetnomr and yet tbe 
atmetpbere retained. — The AutUr. 



10 "FEDIA" 

SECOND CHORUS GIRL [Hits him playfully with a 
rose]. Direct to your heart, I aim it, and as a token of love, 
you may claim it ! . . . 

FIRST GIRL [Reading his palm]. You will go to the gal- 
lows for a friend, true and devoted to the death, but you are 
not a model of conjugal fidelity. 

FIFTH GIRL [Fedia gives her money and sends her off]. 
Turn this way, young man, the moon and stars beyond are 
inviting, come, follow''me. . . 

[RIasha holds her ground. Fedia pays no attention to the 
sender of the rose, nor the others, keeping his eyes glued to 
those of Masha who responds. Intoxicated by the dancing 
and singing, he moves his chair gradually towards the 
centre of stage, then when the dance is finished, he mounts 
the chair, waving his hand in the air — excitedly, his blood 
aroused.] 

Now Masha alone will dance, Masha alone! [Sitting 
down]. Masha! Masha!... 

[He is applauded by the other visitors, some sitting, others 
standing and waving their handkerchiefs in approval.] 
KOROTKOFF. I like your spirit, Fedia, smash my top- 
per ! . . . 

STAHOFF. Masha, Masha, Masha!... 
[Masha is beautiful, rather small, but wiry. Her dress and 
head attire combine and harmonize with her grace, capabil- 
ities and reputation as the Queen of the chorus.] 
[Masha's dress and general make-up offer great opportun- 
ities to the lover of the picturesque in the world of colors.] 
[The. sleeves of her dress are short, displaying her arms to 
advantage, low neck. Sandles on her feet.] 
[Handkerchief on her head covering up her jet black hair 
in part, but displaying it in this way to greater advantage.] 
[Dazzled by the glitter and glamor which surround her, and 
. above all by Fedia's attentions, Masha dances with abandon, 
dances as if it meant everything to her, putting her whole 
heart in it, dancing as if she were mad. . .] 
[The respond from the spectators results in another dance, 
which Masha sings and dances around Fedia's chair, openly 
showing her partiality for him in her movements and ges- 
tures, sitting down on his knee as her dance is finished.] 
KOROTKOFF [To his companion [. This dance is orig- 
inal! Oh, she's a great master in dancing — Smash my top- 
per! 



ACT ONE 11 

STAHOFF. So full of life! So vivid! Damn me! So 
real ! A most accomplished dancer ! 

[The visitors applaud, Masha is indifferent to all but 
Fedia.] 

FEDIA [Embracing]. Rest, my dear. . .Wonderful, won- 
derful 1 Where does all this life and fire you show come 
from? [Embracing more passionately.] What a pity that 
this height of human happiness cannot continue perpetually! 

I have eyes only for you [Embracing]. My Queen, you 
have cast a spell over me, you have bewitched me ! My heart 
beats like a sledge hammer the moment you approach and my 
veins fill with fire [Embracing] ! Oh. Masha, Masha, you 
turn me all inside out ! . . . 

MASHA [Habitually petting him in turn]. And about the 
favor I asked. . . 

FEDIA [Reflecting]. What?... the money?... Oh, yes! 
[Taking out bills from different pockets, handing it to her.] 

Well, well, take it, my dear, take it!. . . 

MASHA [Smiling, taking the money and hiding it in her 
corsage, then she removes a flower from her corsage, pinning 
it on]. Wear it for my sake, Fedia. 

FEDIA [Embracing]. Masha, Masha, you are irresisti- 
ble!... You open heaven for me and then beg for trifles ! 
[Playing with the locket on her neck.] You have no idea how 
great and overwhelming your influence is over me. How lit- 
tle you understand. 

MASHA [Inquiringly). Why shouldn't I understand? 
Hove is the price at which true love is bought. 

FEDIA. There is just one blot on it. . .1 am married!. . . 

MASHA. Married? What difierence does that make? 
Marriage is but a legal formula. 

I know no other creeds than the dictates of my own heart; 
no other laws but the law of my affections. . .Love alone is 
supreme!. .. [Petting him.] , 

FEDIA. Then you do love me? 

MASHA. You stupid, isn't it self-evident ! 

FEDIA [Kissing her]. Wonderful! [Filling her glass.] 
Drink more, my dear, drink some more!. . . 

[Enter doorman in uniform, handing card to Fedia.] 

DOORMAN. She looks a real lady. 

FEDIA [Confused] . Of course, she is I . . . God ! . . . My 
wife's sister! Say I am out. . .1 can't see her. . . 



12 "FEDIA" 

MASH A [Pleadingly). Why not? She is your wife's 
sister, you said . . . 

FEDIA [Perplexed]. This is awkward! 

[To doorman.] Is there no other room or place where I 
could receive her?. . . 

DOORMAN [Hesitatingly]. We are rather crowded... 
unless. . . [interrupted] . . . 

MASH A. Why not here? [Pointedly.) I will go. [Ex- 
its.] 

FEDIA. Show her in. 

[Improving his appearance and things on the table, but with 
little success.] [Enter Sasha — R.] 

[She is in out of door clothes and deeply veiled, as before.] 

[The crowds at the drinking tables disappear behind the 

scenes.] 

FEDIA [Rising to meet her, they meet C]. You, in this 
place, and alone. . . 

SASHA [Nervously]. Forgive my intrusion, Fedia. 

FEDIA [Motioning her to a chair — Sasha taking it, they 
face each other]. 

SASHA [Excitedly, still standing]. Fedia, I entreat you, 
come home 1 . . . 

FEDIA [Repeating the invitation, she sits down]. 

I understand you perfectly, my dear, and in your place 
would make the same attempt at patching it up somehow. 

[Petting her.] But believe me, dear, kind girl that you are, 
that in my place, you would do identically the same thing. 

[Sasha, eying the wine.] 

I mean. . .you would relinquish your rights to waste an- 
other's life. . . 

SASHA [Protestingly]. Not wasting. . .Love and affec- 
tion await you. . .Liza can't live without you. . . 

FEDIA [Assertively]. She can and will live happier with- 
out than with me... Her individuality, the freshness of her 
life sliall not be sacrificed for the mere preservation of a 
certain place in a certain room. I have lost her love, and 
there is nothing else I would care to keep. 

SASHA [Nods her head in approval]. [He lights a cigar- 
ette]. 

SASHA. Fedia, I am knocking at the door of your heart, 
Liza's happiness is with you. 

FEDIA [Emphatically]. Never! [His voice trembles for 
a moment.] It's the truth and you know it. 



ACT ONE 13 

[Petting her.] Dear, kind, sweet Sasha. . .Let me give you 
an illustration. . .One may bend a piece of cardboard fre- 
quently, repeatedly, without affecting it in the least, but do it 
once too often and it snaps. . .Then it's broken!. . .This is my 
case and that of your sister. We can't look each other 
straight in the eye ! . . . Believe me, it's the plain unvarnished 
truth I am telling you. 

SASHA [Thoughtfully]. Possibly, possibly, all 1 know is 
that were I in Liza's place, I would feel awkward. 

FEDIA. Yes, you... 

[Enter waiter relieving the floor and table of the empty 

bottles, anticipating a new order. Fedia motions him to 

leave and he exits.] 

SASHA [Getting up]. Is this final? 

FEDIA [Emphatically]. Yes. 

SASHA [Pleadingly, her hand on his shoulder]. Fedia! 
do come back. . . 

FEDIA [Affectionately — quite overcome]. Thank you, my 
dear, to me you will always remain a cherished memory ! . . . 
[Kisses her on the forehead.] 

SASHA [Excitedly, smelling his breath]. No, I will not 
say bood-bye. [Sitting down again.] 

I see you have been drinking, but this is no excuse for 
shirking responsibilities. 

FEDIA. Listen, then [pause], its a secret. . .True, I am 
Liza's husband, but I am entirely superfluous. . .1 have neither 
the right nor cause to be jealous. The man she loves is a 
mutual friend and they love each other since childhood. We 
shall go our different ways ! Henceforth, I relinquish my 
power of wasting her life, not as a concession, but as a duty. 

SASHA. You don't do yourself anything like justice — 
Fedia, she loves none but you ! . . . 

FEDIA [Collectively, speaking with reserve and feeling]. 
Oh, yes, she loves . . . loves like a true, honest woman, which 
allows herself to love none but her husband, but... remove 
the obstacle [pointing to himself] and her real love will as- 
sert itself [Convincingly]. Depend upon it!. .. 

I shall remove the obstacle, and they will both be happy!. . . 

SASHA [Waving her hand in protest]. Don't talk like 
this, Fedia. 

FEDIA [Touching her]. You know it's the truth.. .1 am on 
the cross-roads and I know it... I will not come back, but 



14 "FEDIA" 

shall rejoice in their happiness, I can do no more. It's the 
only honorable way out of my dishonorable action. They 
shall have their liberty ... I will give them their freedom ! . . . 
Tell them so! [Kissing her forehead once more and moving 
at some distance from the table, as a sign for her to leave.] 
Say no more, my dear, say no more ! . . . 

SASHA [Affectedly]. Fedia, you are a dear!... [She 
looks her thanks to him.] 

[The band behind the scenes resumes playing.] 
[Exit Sasha.] 

[Excitement behind the scenes.] 
[The chorus returns.] 

[Masha and a rival are having a fistical argument about 
Fedia.] 

GROUP [Excitedly] . Masha started it ! . . . 
GROUP. No, no! It's the other, I've heard her! 
[Wrangling between themselves.] 

MASHA [Stamping her feet — picking up an empty wine 
bottle at a nearby table]. You are not fit for a decent chorus. 
[About to hit her companion.] You are a cat! cat! cat!. . . 
RIVAL [Resisting the attack]. You love like one!... 
[Snapping her fingers.] Do you suppose he will ever give you 
another thought after to-night!. . .A chorus girl the wife of a 
nobleman, indeed ! Ha, ha, ha ! 

[Exchange of slaps between the women.] 
FEDIA [Joining them, embracing Masha]. This is the 
first time I have ever seen you in a temper, darling. . . [Plead- 
ingly.] Make up. [Giving money to rival.] There: there! 

RIVAL [Pockets the money and her attitude towards 
Masha instantly changes. The women embrace each other] . 
FEDIA. Now, another song. 

KOROTKOFF (Gets out a coin— to Stahoffj. I wall match 
you for the drinks, the one who loses pays. 

STAHOFF [Getting out a coin in his turn]. Head, I win, 
tail, you lose. [Pause.] You are sure to lose. . .damn me! 
KOROTKOFF [Throws his coin]. What will you bet? 
Smash my topper! 

STAHOFF [Eying the coin]. Tails! You pay— I told 
you so. [Shaking his hand.] Thank you, old man!... 

KOROTKOFF [Beaten]. All right, you win ... [placing 
his money on tray], but you couldn't do it a second time. 
What will you bet ? . . . Smash my topper ! 



ACT ONE 15 

[Masha rejoins Fedia. They clink their glasses and Fedia 

spills some wine over Masha's dress, Masha lifting herself 

in her seat.] 

MASHA [Excitedly]. My dress, you spoiled my best dress, 
you naughty, naughty Fedia. 

FEDIA [On his knees on the floor near her drying her 
dress and making himself foolish generally, picture]. 

[Enter Victor Karenin.] 

[A hndsome man of 30 and of a romantic disposition. . .In 
type he is the very opposite of Fedia, clean-cut features, 
carries himself with dignity.] 

[Doorman, noticing Karenin's tine clothes, he greets him 

cordially.] 

DOORMAN [Attempting to relieve him of his clothes]. 
Fine weather we are having. [Pointedly] Any particular 
young lady you wish me to call? 

KARENIN [Embarassed]. No, thank you! 

DOORMAN [Playfully]. I see, sir, you belong to those 
who are not particular. [Makes movement towards adjoining 
room.] I will pick you a winner!. . . 

KARENIN [Holding him back]. You don't understand. 

[Fedia's eyes meet Karenin's.] 

FEDIA [Coming forward]. Well, well, Victor... the least 
expected. .. [Turning over Victor's belongings to attendant 
and walking with him towards his table]. Listen to the 
music. . .Isn't it sweet, isn't it... I tell you there is nothing 
like ragtime music. 

KARENIN [Stopping on the way, as he notices Masha]. 
I have a private word for your ear. . . 

[Aloud]. How well you are looking Fedia! A little dis- 
sipation improves you. 

FEDIA [Inviting him to sit down]. About. . . 

KARENIN [Sitting down]. I have a letter for you from 
your wife! 

FEDIA [Taking letter — offering wine to Victor]. You are 
the last person I would send for. . . 

KARENIN. Good, send for me now!. . . 

FEDIA [Reading letter]. You know its contents?... 

KARENIN [Pushing aside his glass]. I do. . .and went to 
say. . . [Interrupted.] 



16 "FBDIA" 

FEDIA. Wait! Wait! Don't think I am drunk. [Drink- 
ing] Well, I am drunk, but not on this subject. [Bottle in 
hand] What were you told to say ? That is all I care to know. 

KARENIN [Lighting a cigarette]. Your wife expects you 
. . .wants you to forget everything and return home. . . 

FEDIA [Facing him]. Of all men in the world, why ask 
you to fulfill this delicate mission!. . . 

KARENIN [Smoking]. Her mother telephoned for me 
and then Liza asked me. . . 

FEDIA [Helping himself to another drink]. Now I am 
sobering up. .. [Drinking again] This wine is splendid... 

KARENIN [Removing the bottle from table]. Don't drink 
any more of this distilled fire and liquid damnation! Fedia, 
Fedia, pull yourself together. . .Stifle this ruinous passion of 
yours. .. [Getting hold of him.] I ask you not so much in 
lier name as in my own . . . my auto is at the door. Come, 
let us go ! . . . 

FEDIA [Supporting himself on Victor]. Victor, Victor. . . 
I appreciate the fact that you want to give me a lift, but I am 
too heavy for you. 

KARENIN [With renewed vigor]. Come, brace up, old 
man, out of the mud, allow yourself to be persuaded... 
Haven't we been close friends for nearly fifteen years? 

FEDIA. As long as that, and yet you think you can change 
me. . .Ah .you are a better man than I, you are a man that's 
a man, while I am a good-for-nothing!. . .If a thought to re- 
turn home ever entered, my mind, the sight of you strengthens 
my resolution. [Stretching out his hand for another bottle.] 
I couldn't, wouldn't accompany you. [Sitting down drunk- 
enly.] Wh. . .where, should I go? 

KRENIN [Shaking him to and fro]. Is this to be the 
issue of your life, ever yielding to drink temptations abus- 
ing your talents, your education, the best given gifts of God 
to man, putting out the light of reason with your own hands. 

FEDIA [Plaintively]. How can I appear before them in 
this way... with my trembling hands and shaking feet... 
[Bus] oh my head, my poor head! What is the matter with 
my head ? My brain, my poor brain ! 

KARENIN. Come to my house. You will sober up over 
night and rise once more to the social position and station 
to which you belong; then to-morrow, to-morrow. 

[Sliaking him too and fro]. Fedia. . .To-morrow is but 
another to-day. . .To-morrow, she will remain what she is 



ACT ONE 17 

and I what I am. . . [Drinking, then flinging the glass to the 
ground]. Pull your bad tooth at once and have done with. . . 

[Masha comes forward.] 

MASHA [To Fedia]. The girls want to drink his health. 

[Enter chorus, in changed costumes, glasses in hand.) 
[Quietly] What name? 

CHORUS. A guest is here, give him a hearty cheer! And 
drink his health, hurrah! hurrah! hurrah!. . . 

FEDIA [Standing up, lifting his glass, the girls join]. 

Welcome. . .Welcome, the Honorable Victor Michilowich, 
thrice welcome! 

[Staggers in his walk]. I am having a glorious time. 
Waiter, some more champagne. 

For he's a jolly good fellow — for he's a jolly good fellow — 

for he's a jolly good fellow — so say all of us I Hip. . . 

hip. . .hurray ! . . . [Picture.] 

KARENIN [Confused, bows in acknowledgment, then to 
Fedia]. What does it cost ?... [Emphatically] How much? 

FEDI.A. [Drunkenly and goodnaturedly]. Give them twen- 
ty-five. 

KARENIN [Bashfully, hands over the money to Masha]. 

FEDIA [Drunkenly — making a clean sweep of its contents, 
then sitting down on the table]. Talk about your Wagners, 
Bethoven and Mosart...but there is nothing, nothing like 
ragtime songs for me. .. [Getting down, supporting himself 
on a nearby chair.] There is no music so dear to my ear 
[Humming a popular song]. 

[Karenin looks nervously at his watch, then exits.] 

Drink does away with shame. . .When drunk you are afraid 
of nobody and care for nothing. You can make all kinds 
of promises and as easily forget them. No man is so sober 
as the one who is occasionally otherwise. 

[Masha rejoins Fedia.] 

[Fedia calling.] \'ictor. . .Victor. . .Come and shake hands, 
come and shake hands. .. [Looking about] Where is Victor? 
Where is Karenin? [Noticing that he left.] Well, let him 
go !...[ Nudging Masha]. You know who it was?... 

MASHA. You have just told me. . . 

FEDIA [Dnmkenly]. So I did, so I did:... He's a fine 
fellow... not a good-for-nothing like me! He came to call 
me home. M-y. . .my wife loves me [embracing her] and. . . 
look what I am doing. . . 



18 "FEDIA" 

MASH A. Go to her, pity her. . .go home. 

FEDIA [Nesthng up closer]. You think I sliould, and I 
think I shouldn't. . .She doesn't love me. . .there!. . . 

MASHA [Reflectively]. Of course, if there is no love, it's 
diflferent. Love alone is supreme!. . . 

FEDIA. True love is the poetry of life. . .but how do you 
know . . . how do you know ? 

MASHA. Evidently I do. Ah, Fedia, if you were only 
sober, I could go with you to the ends of the world! 

[Chorus re-enters, singing and dancing is resumed.] 

FEDIA [Throws a shower of gold coins at the chorus and 
musicians, and some glasses to the floor, then. ..[His arms 
around Masha's neck in violent embrace, — he gradually drops 
to the floor, his head on hers, exhausted.] [Picture.] 

How enchanting!. . .S-p-lendid! [Intoxicated by love, wine 
and song.] 

If only like this one could lull himself to sleep. . .into eter- 
nity. . . 



CURTAIN. 



FOR CURTAIN CALL :— 

[The waiter enters with bill on a tray, Fedia signs without 
examining it, handing the waiter some bills as his tip.] 



"FEDIA." 

Act 2 — Scene I. 

[Fedia Protosoves Lodgings in a third-class boarding 
house; an attic room, sloping roof, low ceiling, clean but 
gloomy, with but one entrance, which is up stage. Left 
of Centre, panel door. Not far from the door on the 
Right, a narrow window with views of neighboring roofs 
in the perspective. Not far from window a writing table, 
cheap inkstand and writing materials ; wine bottle, tumbler 
and a few old books upon it, a few chairs near the table 
and wall up stage; old-fashioned washstand on the R., not 
far from it in the corner small table with newspapers, 
etc. On the left an old bed, pegs with clothes on the 
wall near it. The room serves Fedia for all purposes and 
requirements.] 

[Discovered Fedia and Alexandrove sitting near table 
drinking. Fedia has considerably aged, showing marks 
of dissipation.] 

[Alexandrove is a drunkard of the intellectual type, 
shabbily dressed. . .Eccentric to the extreme in his v\ig 
make-up, manners, etc.] 
ALENANDROVE. I say, Fedia, sorry to bother you so 
often, old man, but if you will only lend me another ten dol- 
lars, I will be your debtor for life ! 

FEDIA [Playfully]. I know you will [Pause], but this 
is not the only reason why I can't give it to you ! . . . 

ALEXANDROVE [Drinking] Bills don't bother me, but 
I need a little ready cash. 

FEDIA. My dear friend, we are both in the same boat. I 
am just one step from hitting the sidewalk myself. Yester- 
day the landlady sent word that she will raise the rent. . .Let 
her raise it, I replied... I am sure I cant' do it! 

ALEXANDROVE [Sympathetically]. As bad as that?. . . 

FEDIA. Ready money and I have not been on speaking 

terms for some time... I have already pawned every tiling of 

practical value, except. .. [Taking out a gold watch] .. .this 

watch, the only memory from bygone days. 

ALENANDROVE. Fedia, you talk as if you had a hang- 
over. 

FEDIA [Eying the watch, meditatingly.] To pawn or not 
to pawn, that is the question !. . . 



30 "FEDIA" 

ALEXANDROVE [Lightheartedly]. What are ^hese ex- 
pensive trinkets made for, except for the convenience of 
raising money on them in the hour of need. . .with a v>atch 
like this in my possession. . . [Playfully]. How long do you 
thing it would take me to make up my mind? 

FEDIA [Eying the watch]. This watch has been in the 
family for generations. . .There is a sentiment about it which 
you couldn't understand . . . 

[To the watch] I stuck to you as long as I could, old pal, 
but the time to part is at hand, our pleasant friendship is 
ended ! . . . 

[To Alexandrove, handing him the watch]. Do it for me. . . 
[Pause] . . .1 haven't the heart. 

ALEXANDROVE [Examining the watch carefully, then 
gaily]. Don't look like a funeral, old man. [Playfully] Just 
let me do the negotiating with the friend around the corner. . . 

FEDIA [Meaningly, with a tortured mind and heart]. You 
may not find me in upon your return, kindly pay my bill to the 
landlady, and keep the change. . . 

ALEXANDROVE [Excitedly]. Keep the change?... 

FEDIA. Yes. . . [Confused at a look from Alexandrove] . . . 
until I ask for it. .. [Petting him on the shoulder] ... Good- 
bye, old friend. [Exit Alexandrove]. 

[Fedia bolts the door, approaching the writing table... 
opening drawers, taking out revolver and hunting for cart- 
ridges in various places. . .bus.] 

MASH A [Knocking on the door from without. Impa- 
tiently] : Fedia, Fedia... why lock yourseld in... open, 
Fedia ! . . . 

FEDIA [Removes the wine bottle from table, hiding it un- 
der the blanket, leaving glasses on table, replacing the re- 
volver in drawer. Unbolts the door and lets her in.] 

Thank you for coming, my dear, I'm lonely, very lonely. 

MASH A. Why didn't you come to me? [Noticing the 
half empty wine glass on table — reproachfully]. Drinking 
again, and this after all your promises ! For shame, Fedia, 
for shame! 

FEDIA [Plaintively]. I am stony, you see... I need for- 
getfulness and the wine is a great medium. 

MASHA [Reproachfully]. Don't Masha me!... If you 
loved me you would have obtained a divorce long ago... 
Others have asked you, and yet you have done nothing ! . . . 



ACT TWO 21 

FEDIA [Plaintively]. You know why, you know the 
reason. 

MASHA [Pointedly]. Rubbish!. . .You are a good-for- 
nothing-nobody — and this explains everything. . . 

FEDIA. I say, you are rubbing it in. .Your allusions are 
not pleasant, and you know it. 

MASHA [Snapping her fingers]. Pshaw — unpleasant in- 
deed. ..tell it to the marines! You don't care for anything 
or anybody, except yourself. 

FEDIA. Your love, my dear, means everything to me. . . 
Everything ! . . . 

MASHA. Mine, yes, but yours doesn't even exist. 

FEDIA [Petting her]. You know it, know it but too 
well — I will not try to convince you. . . [disheartened] . . .what 
is the use?. . . 

MASHA [Crying]. If indeed you love me, why then do 
you torture me, Fedia? 

FEDIA [Embracing her]. Don't cry, darling, life is full 
of gladness, and tears are not becoming to such pretty cheeks 
and eyes. [Kisses her — moment of bliss.] 

[Enter Count Abrezkov, hat in hand, rather uneasy, noticing 
the position], 

ABREZKOV : Pardon me. 

FEDIA [Distantly]. With whom have I the honor? 
[Recognizing] Ah, Count Abrezkov ! [Handshaking.] 

ABREZKOV [Plaintively.] Pardon, pardon. . .1 was shown 
to this door and... My knocks were evidently not heard. 

FEDIA [Motioning him to a chair]. The girl is absolutely 
innocent, I assure you. Our relations are romantic and friend- 
ly, but it ends there. .. [Pause] .. .May I ask the nature of 
your visits?... I live so high and stand so low that I can't 
think it's a mere social call on your part. 

ABREZKOV. Circumstances don't change the man, but 
you are quite right, I am here on business. I come on behalf 
of my friends to find out your intentions regarding your wife. 

FEDIA. My attitude towards my wife. . . [correcting him- 
self], that is towards my former wife, is definite and settled. 
I'll never disturb her in any way. She is absolutely free as 
far as I am concerned, to act as she pleases. 

ABREZKOV. It is kind and generous, but for Mme. 
Karenin and her son, your private release is not sufficient. 
Mme. Karenin will never reconcile herself to such a marriage 
for her son. 



22 "FEDIA" 

FEDIA. A divorce then, well I notified them long ago 
that I am ready ! But the legal conditions and technicalities 
it involves are degrading. 

ABREZKOV [Pressing her hand]. I sympathize with 
you, but what is to be done? 

FEDIA. Beleive me, I will rejoice in their happiness, but 
to lie, and display all this horrible comedy of divorce pro- 
ceedings as required by law is intolerable to me . . . 

I am a man punctured with shortcomings, yet I find this 
particular procedure revolting. I can't participate in it. But 
this does not mean that I will remain as an obstacle in the 
way of their happiness. [Drinking]. There is another way, 
simpler, pleasanter! They shall, have their freedom, tell 
them so. 

ABREZKOV [Dark thoughts crossing his mind]. When? 
When? 

FEDIA [Pressing his R. hand, left on his shoulder]. Soon, 
very soon. [Abrezkov bows and exits.] 

[Left alone Fedia hastily writes a few lines, then takes 
out again the revolver from the drawer, succeeds in finding 
the cartridges, examines and loads it. Placing the revolver 
before him as he helps himself to more drinks. Pressing his 
hand to his forehead — ^taking ofif his coat and loosening his 
necktie that he may breath more freely, making a few paces 
about the room.] 

[To himself] This is the end... I am so tired!. . .Fedia 
Protosov the time has come for footing up your life's ac- 
counts. [Picks up the revolver, standing neaer the table, re- 
volver in hand, maknig a semicircle with the sharp edge]. 

All is over with mc. . .everything is dead !. . . [His mind is 
dazed] . Yes, suicide, death, man's best friend ; the kindly 
frost that cracks the shell and leaves the kernel room to 
germinate. Death which prepares the old elements to take 
on another form of expression, a round higher in the ladder 
of life. 

[Is about to fire the shot as Alexandrove, without knocking 
opens the door. Alexandrove very drunk, clings to the door 
and nearby chair for support. In his arms he holds two bot- 
tles of wine and a bundle of provisions]. 

ALEXANDROVE [Making no attempt to stop him, but 
going straight for the wine bottle, drinking rapidly as he 
speaks. 



ACT TWO ' 23 

You want to shoot yourself? Go ahead, go ahead. They 
want to humiliate you, but you will show them who you are. . . 
I understand you. I understand you... I understand every- 
thing because I am a genius. [Lifting his glass]. Fedia, 
darling, here's to your long journey!. . . 

[PICTURE]. 

FEDIA [Sitting down, placing his revolver before him, 
then taking up his interrupted letter, writing as he talks]. 

ALEXANDROVE [Refilling his glass]. That's right: 
[Waving his hand]. I will not stop you. To a genius life 
and death are immaterial. I die in life and live in death. 
You want to kill yourself so that they may feel sorry for you. 
While I — I shall kill myself that the whole world might un- 
derstand what it has lost. I shall not hesitate. [Getting 
up] , . .1 take this. . . [Grasps the revolver] and it's done !. . . 
But it is too soon for me! ...[Puts down the revolver]... 
Not just yet. . . 

[PICTURE]. 

FEDIA [Replacing the revolver, more in earnest than 
jest]. Alexandrove, you are welcome to my wine, but not tq 
my cartridges. 

ALEXANDROVE [Producing his own revolver]. Never 
fear, I have my own . . . Many a day have I gone without food, 
but never without my loaded revolver. 

FEDIA [Sympathetically]. You are right ,one should 
always be ready. .. [Dreamily]. Death is the greatest bless- 
ing which was ever given to man. 

ALEXANDROVE [A sandwich in one hand and wine 
glass in the other, drinking]: It is... it certainly is! [Re- 
flectively]. You said you had friends in both places... 
[pause] .. .well, if you should happen to go to the other 
place, take my advice and apply for the job of an iceman! 
[Eating] . . .You are sure to find it cooling. . . [drinking]. 

[Enter Masha]. 

[Masha picks up Fedia's half finished letter, reading it as 
the two men are talking]. 

FEDIA [To Alexandrove, his hand on his shoulder]. You 
are a great man, my friend, and I am grateful to you for 
coming in, but just at present you will oblige me by getting 
out. 



24 "FEDIA" 

ALEXANDROVE [Making for the door]. I am going! 
...I am going!. . .but. .. [glancing at the revolver]... 
promise to wait for me. . . [Coming closer]. I will then tell 
you a funny story. . .something decidedly original and new, 
both in this world and the next. . .At least, until I get there. . . 

[Makes for the door, then returns]. I have almost forgot- 
ten to turn over the money. Your landlady was out as I 
came in. .. [Handing Fedia several bills, the latter taking 
them and placing in his pocket, walks towards the door, then 
turns around]. One moment, if you are really going, Fedia 
... I have a Hebrew friend, who will accommodate you with 
a check for the cash!. .. [Exits]. 

MASHA [Excitedly — pointing to open letter in her hands]. 

Oh, you fool. . .you idiot... did you really? [Pointing to 
loaded revolver] . . . ha, ha ! Suicide is the greatest sin a man 
can commit. Foolish Fedia. . .before making an attempt at 
dying, one should first learn how to live. . .You are only a 
weak man, not a bad man... Is this a fitting climax to an 
honorable life? What about my love for you?... What 
about me? 

FEDIA. I can't go through with it all. . .the hypocrisy, 
the falsehood of the divorce court. ..and having promised to 
free them, I wanted to keep my promise. 

MASHA. God will take your life when the time comes; 
until then, one has but one choice, to live. . .and learn how 
to live. . . 

[Pointing to forehead]. Think about blowing brains in, 
before attempting to blow them out. Suicide is a fitting 
climax for a coward. . . 
FEDIA. True. . . I am a failure !. . . 

MASHA [Quickly]. Only in so far as you admit it. 

FEDIA [In the same strain]. My sin has found me out. . . 
I am an outcast. Suicide would not be worse for me, and it 
will help them. I am in everybody's way and in my own. 

MASHA. Not in mine, I will cling to you like a leech ! 
Like Alexandrove, I am not quite ready for the next world, 
and I want you in this ! . . . 

FEDIA [Plaintively]. I have to set free my wife, my 
friend, I promised!. . . 

MASHA. You promised to set them free, very well, set 
them free, but this does not necessitate self-destruction. 

FEDIA. What else can I do to disentangle myself. [Cov. 
ering his face with his hands] help me, oh, help me! 



ACT TWO 25 

MASHA. There are a hundred ways !. . . 

FEDIA. Tell me one!... Just one! 

MASHA [Taking him in hand, improving his appear- 
ance, handing him his hat, then taking his arm]. It is so 
easy to repair the worst you have done. Come, brace up! 
I will tell you as we walk... Are you an expert swimmer? 

[They walk towards exit C] No. . .very well... then 
there is a simpler way ! . . . 

THE CURTAIN FALLS FOR A MINUTE TO INDI- 
CATE THE PASSING OF TIME. 

"FEDIA" 

Second Act — Scene Two. 

[Same room and surroundings; carefully arranged to es- 
tablish Fedia's identity. Loud knocking and voice behind the 
scenes as Curtain rises. 

POLICEMAN [Knocking with his stick]. Open, or I will 
break the door. Open, in the Name of the Law. Open, I 
say, — open ! You wouldn't open — well, then, we will see ! 

[Receiving no reply, the policeman breaks with his club the 
upper panel of the door, getting his hand through it and 
making for the lock to see if the key is not from within. The 
key is not there]. 

LANDLADY [Nervously]. Hold, my good man, break 
no more. They are bringing his clothes from the station, the 
key is probably there. . . 

[The policeman's arm is removed, knocking discontinued, 
and a few moments later the door is opened with a key]. 

[Enter policeman followed by a coroner, another police- 
man with Fedia's clothes, and the landlady, the latter greatly 
perplexed and alarmed]. 

CORONER [Assisted by the two policemen, who placing 
the clothes on chair near by, look about, collecting a few 
other old clothes which they add to those brought in]. 

Now, more than ever, I am absolutely convinced that the 
man who shot himself on the bridge and the former occupant 
of this room are one and the same person. [Glancing about 
the room], the landlady's evidence is conclusive!. . . 

FIRST POLICEMAN [Calling coroner's attention to an 
open letter on the table]. 



26 "FEDIA" 

CORONER [Picking up letter]. Addressed to the pro- 
prietress of this boarding house. . . [Opening, taking out con- 
tents]. Only an unreceipted bill and money enough to cover 
the amount. [Hands it to the landlady]. 

[Picking up another letter.] This one is sealed. . . [Reads.] 

"To my Wife, Liza Protosov:" 

[To First Policeman] . . .Bring in the woman. . . 

POLICEMAN [Calling.] Liza Protosov! 

[Enter Liza.] 

[She is gowned in black, laboring under great excitement.] 

CORONER [Reading from a typewritten report in his 
hand]. "Half-past two this morning on Brooklyn bridge a 
flash was noticed through the darkness followed by a pistol 
shot. The water instantly bubbled up near the spot and the 
man's cap was found in the water shortly afterwards. The 
bullet passed through the cap, and there were stains of blood 
on the cap, the man was evidently shot in the hea'd. [Lifting 
his eyes and noticing Liza, — in an official manner.] 

Your name?. . . 

LIZA. Liza Protosov!.. .[Laboring under a great strain]- 
Something awful has happened ! . . . 

CORONER [Handing her the letter]. This belongs to 
you! [Watching her colsely]. 

LIZA [With an air of perplexity which depicts itself in 
her face, taking letter, opens and reads, [Hysterically, lower- 
ing her head]. 

He is dead. . . [overcome], dead, oh, my God!. . .God's hand 
is upon us!... [With eyes full of tears, she drops to the 
floor on her knees before the chair with his clothes on, in un- 
consolable grief, the open letter falls from her hands to the 
floor]. Dead in the prime of life, God, what words can ex- 
press my grief !.. .What have I done, what have I done! 
[Pause]. He was kind, gentle ... forgive me, Fedia !... for- 
give me! [A painful pause.] 

CORONER [Picking up letter, reads]: "Dearest Liza: 
I call you so for the last time. . .It's goodbye. My hour is 
over. . .When you receive this, you will know that you are 
free. Don't misjudge me. Fedia Protosov."] 

[Places it with his other documents, then turns to Liza 
who during all this time remained on the floor sobbing. Lift- 
ing her to a sitting position.] 

LIZA [In inconsolable grief]. What words could express 
my sorrow!] 



ACT TIVO 27 

CORONER [Earnestly]. You have my profoundest, 
deepest sympathy. [Making the sign of the cross]. May 
God's good-will be upon us all, and heavenly bliss be his ! . . . 
Calm yourself, Madam, calm yourself. 

LIZA [Burying her face in her hands]. 

Dead!. . .Oh, God, his blood is upon me! [Her tears come 
fast and thick — crying and wringing her hands.] 

It is all through me, through me! Oh, merciful heaven, so 
much misery !.. .dead, dead! 

CORONER [Laboring under a great strain to repress his 
emotions]. I have yet the unpleasant duty of completing the 
formal legal papers, although, in this instance, it is scarcely 
necessary. . . 

[Places his hand in Protosov's left breast pocket]. 

Enameled cigar case and match-box with the initials F. P. 
on it! 

LIZA [Hysterically]. My birthday presents!.'.. 

CORONER [Placing his hand in vest pocket}** His watch 
and chain — [Opening locket, to Liza]. Your picture in the 
locket. . . 

[Placing his hand in other vest pocket]. His wedding ring 
. . . [reading] "Liza and Fedia, with love, 1900." 

LANDLADY. His clothes are practically the same he had 
on yesterday, I can swear to that. . . 

CORONER [Inviting Liza and Landlady in turn, to sign 
the various legal papers, producing and lending them a foun- 
tain pen.] 

Sign here [Turning over page], and here [moving his hand 
over page] . It is always best to comply with regulaions. 

[Reading aloud.] 

"We the undersigned recognize the belongings found on 
Brooklyn Bridge as unquestionably that of Fedia Protosov." 

[1] Cigar case and match-box. 

[2] Watch chain and medallion. 

[3] All his clothes, including cap found in the water 

[4] His wedding ring. 

Adds his own signature to the list. 

LIZA [Her hand trembles as she is about to put her name 
to the document.] 

Give me air, give me air, I am stifling! [Momentarily 
insane with grief, fear and love. Her L. hand to her throat, 
as if gasping for breath ; her R. hand gidily to 'her fore- 
head ; makes a few steps, but has to catch hold of the police- 



38 "FEDIA" 

man to support herself; moves her Hps without making 
sounds; swoons in his arms.] 

POLICEMAN [Quite composed, takes hold of her head 
and motions the other policeman to take hold of her feet, ad- 
vancing with body towards door]. [To second policeman]. 
Keep the body level with the head, let the blood circulate 
freely. 

CORONER. Place her on a couch in a large room. She 
will recover there. In all such cases there is nothing like 
fresh air. All she needs is air, air!. . . 

[Aside] This evidence is positively conclusive. 

[Exit all but the coroner and one policeman.] 

CORONER [Consulting his watch]. Bring in the eye 
witnesses ! Bring in the man who offered to search the river ! 

[Policeman brings in Masha and Fedia Protosov]. 

[Masha is in her ordinary clothes, Fedia with a wig and 
facical make up which completely transform his appearance. 
Both of them bowing low to the coroner as they enter]. 

[To Masha]. Your name?... 

MASHA [Bowing low]. Masha, sir... 

CORONER [To Fedia]. You are a wanderer?. . .Your 
name ? . . . 

FEDIA [Bowing low]. I. M. Blank, your Honor.. . . 

CORONER [To both]. You were on the bridge at the 
time the shot was fired? 

MASHA [Both bowing]. Aye, sir... we were passin' 
by!... 

FEDIA. Me pet an' I. . . [Drunkenly-gesticulating]. We 
was right dere, your honor on de spot as it was [digging 
Masha in he rib] , wasn't we, IMasha. 

MASHA [Returning a dig]. We certainly was! Holy 
mackerel ! . . . 

FEDIA [Steadying himself on his legs]. I beared de shot, 
an'. . .an' saw de revolver fallin'. . .Saw it wid mine own 
eyes. . .1 can swear to dat, your honor. . . [Noticing the cap]. 
Dis am de very cap ,ain't it Masha ? De very cap we saw in 
de water. 

MASHA [Excitedly]. Den, den I saw a cop, an',. . .an' 
I cried. . .can swear to dat, your honor. . . 

FEDIA [Steading himself as above]. 

Gee, how she hollered . . . den de cop started toward us . . . 
Golly, how slow he were!. . . 



ACT TWO 29 

MASH A [Gesticulating, extending her right hand. Let 
me search de river, said me pal, I's sure to come in contact 
wid de body. . .No, no, sas de cop. . .Dis am de business of 
de river police. He axed us to carry de close to de police 
station, an der we stayed all night, detained as exercises. 

CRONER [Correcting her]. You mean accessories. We 
have practically all the evidence; charges against you are 
withdrawn. The evidence on hand establishes the fact that 
it was a suicide. . . [picking up cap] . . .it's the bullet through 
the cap and the blood stains from within that finally con- 
vince me, that the man has shot liimself in the head. 

FEDIA [Drunkenly to Masha]. He must have been 
drunk. . .off his trolley, had a bet or somethin'. . .What a 
foolish men! [Steadying himself on his legs in attitude]. 
Gee, what a singular fool! [Laughing]. He, he. . .to blow 
your brains out on a bridge ! on a bridge ! 

MASHA [Gesticulating]. He blowed in his money, den 
he blowed out 'es brains, but he were no fool ! [Widening 
her feet in attitude.] 

When you are studen on de parapet, an' pull de trigger, 
an' fall off der bridge, ye makes sure of killin' yerself, as it 
were between de fire and de water. . .no, no, I tell ye, 'e were 
no fool ! . . . 

FEDIA [Pointing to his forehead], 'e must have been out 
of his mind. ..n de cop had only let me go, I would have 
had de body by now. . .I's sure of dat, your honor. . . 

CORONER [Playfully]. We will get the body without 
you!... [Impatiently]. Sign these papers, and then you may 
go to. . . 

FEDIA [Shamefaced]. Make a cross for me, your honor, 
writin' ain't 'xactlj' in me line. 

MASHA [Bowing low]. Nor mine. . .me heducation have 
been neglected . . . 

CORONER [Consulting his watch, then to the policeman, 
as they exit]. 

Couldn't you pick up better witnesses than these block- 
heads!. . . [To them]. You are free. . .Go to the devil. . . 

[Exit coroner and policemen.] 

MASHA [Hearkening at the doors and convincing herself 
that tliey are alone. . .kissing him]. Well done, my brave 
wanderer, well done ! I congratulate you on a very neat piece 
of work. . . [Her hand to her heart]. Oh, how I was afraid 
you would give the whole show away!... 



30 -FED I A' 

FEDIA. More than once have I been on the point of 
doing it. 

[Taking a long breath]. I need hardly tell you that had I 
anticipated half as much trouble, I would much rather have 
consented to a legitimate divorce, to the malice of lawyers, 
opinion of judges and to public curiosity. 

MASHA [Enjoying the novelty of the situation]. But 
now the die is cast. No, I disagree with you. . .this was the 
easiest way, and my idea of firing the shot through the cap, 
as well as my fingers blood inside the cap, have capped the 
climax. [Pause]. You were so excited you haven't even 
noticed how the blood was put on. 

FEDIA [Weakening]. Perhaps you are right. .. [pause] 
. . .It is not every man who is given the opportunity of being 
a material witness at his own funeral!. .. [Reflectively]. The 
situation is novel, and there was no perjury. . .we didn't sign 
anything, and the others don't know. 

MASHA [Smiling broadly]. It's only a practical joke on 
a stupid law which we have outwitted. In the lies and fabri- 
cations which have been made the State shares with us in 
the guilt. . .Now you are free to start a new life with me. . . 
[pause] ... I am sure I don't know what I enjoy most, your 
funeral, or our forthcoming wedding!... 

FEDIA [Uneasy]. After all, we are on very ticklish 
ground . . . 

MASHA [Making light of it]. Oh, you are a worry... 
Let us from this moment start life anew, and together atone 
for the past. 

FEDIA [Reflectively]. They couldn't get any two better 
witnesses than you and I... We ought to be grateful, for 
that, Masha . . . 

MASHA [Taking him under her arm and walking towards 
exit.] 

You were magnificently drunk while sober, but will you 
permanently talk sober while drunk... I wonder. . .1 won- 
der. . . 

CURTAIN. 



"F E D I A" 
ACT III.— [TEN YEARS LATER.] 

The Criminal Court. 

A large spacious room. Door R. C. leading to the 
corridor. Inscription : — "Criminal Court," Part One," on 
the doors. On the left of audience there is a raised plat- 
form, three steps leading up to it. 

Upon the platform, a table covered with green cloth. 
Next to wall C. of table, arm chair with high carved oak 
back, the place occupied by the Judge. Inkstand, pen 
and paper, pencils and glass paper weights on the table. 
Directly under the judge's table is the secretary's 
table on a level with the floor, writing material and 
legal documents upon it, chair at its side. 

On the left of the judges table is a small table oc- 
cupied by the clerk of the court. The space on the right 
of the judge is occupied by witnesses and prisoners when 
cross-questioned. L. C. on the right of judge's table and 
platform is the jury box, consisting of twelve seats in 
three rows of caned chairs, raised one above the other. 
Not far from the jury box a low railing and door, 
dividing the above mentioned platform and tables from 
the rest of the room. 

Outside the railing on a level with the jury box is a 
square table occupied by the District Attorney and the 
Lawyers for the defense. 

The rear of the room is filled with benches for wit- 
nesses and spectators. 

On the witness benches there are several familiar 
faces. 

As the Curtain rises, the court room is partly filled, 
the Clerk of the Court and Secretary are in their re- 
spective places, and in the jury box eleven out of the 
twelve places are occupied, — one juror No. 11 is still 
missing. 

The Secretary arranges his papers, court usher near 
him. The usher is in uniform, the secretary in ordinary 
clothes. 

The court usher taking legal papers from the secre- 
tary and placing them on the judges' table. 



32 "FEDIA" 

Judged by their dress and mannerism, the men in the 
jury box have evidently been drawn from all the dif- 
ferent elements which constitute society. 

In each and every instant the facial expression har- 
monizes with the outward makeup. 

[Enter Juror No. 11, walking briskly to the Clerk's 
table and speaking in an undertone, then quickly return- 
ing to jury box, resuming his seat]. 
[The District Attorney comes in, resuming his seat at his 
table, and is instantly absorbed in reading and looking through 
his papers, getting ready for business]. 

[Enter Usher, walking up to raised platform, ad- 
dressing all present in a loud voice] : 
USHER. The Court is coming! (Enter Judge taking his 
seat.) 

The clerk hands the Judge an unfolded paper. 
JUDGE [To Juror No. 11]. You are late to-day for the 
second time, Mr. Curioso, and this time your fine will be 
heavy. 

JUROR No. 11 [Rising in his seat]. Your honor I am a 
commuter, and this morning the 7:01 express did not arrive 
until 8:4-1. 

JUDGE [Sternly]. You are fined to a permanent stay in 
the city during your jury term. 

JUROR No. 11 [Nervously]. Yes, your honor. . .and the 
extra expense? 

JUDGE [Playfully]. We will see!... The court may con- 
tribute towards it, if inclined to do so. 

[Changing his position from time to time, as he speaks, 
handling his papers, pencils, penknife, etc.] 

Now, gentlemen of the jury, a word to you as to your 
duties, responsibilities and privileges, before we resume the 
business of the court where we left ofif yesterday. 

[All the jurors listening with respectful attention, Mr. 
Curioso nodding his head approvingly at every sentence as 
the Judge speaks.] 

You are within your rights to interrogate the prisoner, 
but only through the Court. You are at liberty to make notes, 
but the secrecy of your discussions must be absolute!... 
Your duty is to judge, not falsely, but in accord with your 
conception of justice. .. [pause]. 

In the case now before us, you are already familiar with 
some of the facts, and are particularly invited and requested 
to examine the articles put in as evidence. . . 



ACT THREE 33 

[Consulting the papers before him]. 

Call Mr. Hector Berns. 
, USHER [In a loud voice]. Hector Berns! 

[Barns walking up to and taking the witness stand. He 
is a man of about forty, hair rather fair, with an eye of 
great penetrating powers.] 

JUDGE [To Berns]. We will resume right where you 
left off yesterday. Kindly tell the Gentlemen of the Jury 
how the evidence which you turned over to the State came 
into your possession. 

BERNS [Bowing to the Judge]. Quite by accident, your 
honor. I was acting as a waiter, trailing a gang of forgers 
in an East Side Cafe and heard the whole story from his 
own lips, heard him describe himself to his table companion 
as a living corpse, how he often passed the house where 
his wife and the other fellow are living, in fact, the whole 
story of how he fired a blank cartridge through a cap which 
he dropped into the water, and the rest of it.] 

JUDGE [Emphatically]. But Petushkof, his companion, 
denies the story, stating that he knows nothing. 

BERNS [Playfully]. This doesn't alter the case and the 
prisoner has already confessed to the police authorities. 

JUDGE [Motioning him to retire]. This will do. 

[Consulting typewritten paper before him]. 

Call Victor Karenin ! . . . 

USHER [In loud voice]. 

Victor Karenin. 

[Enter Karenin walking up front to the place reserved for 
witnesses.] 

[The ten years which have elapsed have made their imprint 
on him. He has raised a beard and looks stouter. One can 
see that the sorrow in his face is only a passing shadow, and 
that for the past ten years he has fared well.] 

[As Karenin takes the stand facing audience, whispers are 
exchanged between the jurors and among the people in the 
spectators benches, but in a moment everything settles to 
deadly silence as the usher putting the thumb and two first 
fingers together picks up the Bible.] 

USHER [To Karenin]. Raise your right arm in this way 
and repeat after me : "I promise and swear by the Almighty 
God, that I will state the truth, the whole truth, and nothing 
but the truth." [Karenin kisses the Bible]. 

[Usher replaces it to judge's table and exits.] 



34 . "FHDIA" 

JUDGE (Reading from his papers]. "The People versus 
Karenin." 

KARENIN [Indignantly]. What is my crime? I don't 
consider myself guilty of anything. 

JUDGE [Pointedly]. You marreid a married woman.... 
[Pause]. Let us do it systematically. . .Your name? 

KARENIN. Victor Karenin. 

JUDGE. Occupation ? 

KARENIN. Attorney-at-law. 

JUDGE. Age? 

KARENIN. Thirty-eight. [Impatiently]. Never been 
accused or sued. . . . 

DISTRICT ATTORNEY [Sharply, with half closed ej-es 
and cunning smile, as he rises to cross-question him.] 

Did you know that Fedia Protosov was alive when you 
married his wife? 

KARENIN [Emphatically]. I did not!... We were abso- 
lutely sure he was drowned... 

DISTRICT ATTORNEY [Pointedly, moving the hand 
that holds the paper]. 

To whom did you send money in Boston after the false 
news of Protosov's death? 

KARENIN [After a pause]. I refuse to answer... 

DISTRICT ATTORNEY [Making a note of this reply.] 

For what purpose did you send Protosov $1,200 before his 
fake suicide of July 17th, ten years ago? 

KAREIN. The money was turned over to me by my wife 
for her husband. . . [correcting himself] for lier ex-husband. . . 

DISTRICT ATTORNEY. This will do for the present. 

JUDGE [Motioning him to a seat, not far from the sec- 
retary's table, inside the railing, Karenin taking it.] 

[To usher.] 

Call Mme. Karenin, or [playfully] .. .more correctly, Mme. 
Protosov . . . 

USHER [Aloud.] Liza Protosov! [No response.] 
[Confused — repeating] Liza Karenin-Protosov. . .Liza 
Protosov-Karenin . . . 

[Liza comes forward heavily veiled and in black.] 

JUDGE [Gallantly raising himself slowly and showing the 
whole of his graceful figure, then sitting down again.] 

I regret the necessity of questioning you again... [em- 
phatically] . . .but it is a necessity!. . . 



ACT THREE 35 

[Looking at his papers from Liza, and from Liza to his 
papers.] 

You have already been sworn in. .. [pause] .. .Compose 
yourself. . .You are within your rights not to answer quest- 
ions, but in my opinion the truth will be best and more 
practical for all concerned. .. [Putting on an air of friendly 
solicitude and simplicity]. Tell us all about it. A free and 
full confession will be to your advantage. . . 

LIZA [Plaintively]. I have nothing to hide! 

JUDGE. So much the better. . . 

[Showing his papers — inquiringly. Bending his Jiead. 
Your name, and residence, everything is properly entered as 
you stated yesterday?... 

LIZA [Looking over the list]. Yes... 

DISTRICT ATTORNEY [Rising as he cross-questions 
her]. 

You have two children, eight and three years old . . . 
[Pointedly] .. .both from... from your second marriage... 
from Karenin? 

LIZA. Yes. 

DISTRICT ATTORNEY [Eying her]. You are accused 
that knowing your husband to be alive, you married an- 
other . . . 

LIZA [Emphatically]. I did not know... 

DISTRICT ATTORNEY [As above]. Also in this that 
you have persuaded your husband, bought him with money 
to manufacture a fake suicide which would set you free... 

LIZA [Excitedly]. All this is false !... false !... and 
cowardly ! . . . 

DISTRICT ATTORNEY [Sharply]. Did you, or didn't 
you send him $1,200 in July of that year? 

LIZA [Plaintively]. It was his own money... the exact 
amount I obtained for his things. I have sent it when we 
were already parted and I expected my divorce...! had no 
right to that money . . . 

DISTRICT ATTORNEY [Evidently pleased with the ad- 
mission made]. The money was sent shortly before his dis- 
appearance. 

LIZA [Confused]. I don't remember the date. . . 

DISTRICT ATTORNEY [On what principle, on what 
ground did you recognize your husband's body in the corpse 
which the police had sent you to identify? 



36 "FEDIA" 

LIZA. I was so excited. . .so positive, that without look- 
ing at the body, I replied when they asked me. . .yes. . .1 be- 
lieve it is he. . . 

DISTRICT ATTORNEY [Condescendingly]. Be it so 
. . . But why have you sent monthly money to Boston, the 
very city where your ex-husband lived? 

LIZA [Plaintively]. My husband sent the money 

[Pause]. I can say nothing about it. . .It is his secret; all I 
know is that it was not for Fedia...I can state positively 
that we did not consider him alive. 

DISTRICT ATTORNEY Sympathetically]. We are ser- 
vants of the law, but it does not interfere with our being 
human. [Cordially]. We understand the circumstances and 
sympathize with you, deeply and sincerely. [Trying to gain 
a point]. You were tied to a spendthrift, a falsifier. . .a. . . 
[Interrupted.] 

LIZA [Sharply]. I loved him! 

DISTRICT ATTORNEY [Cornered]. Naturally, you 
wanted your freedom and have chosen this simple way, not 
thinking that it leads to what is considered crime... to 
bigamy...! understand it, the jury will... and, therefore, I 
advise you to state everything. 

LIZA [Crying]. I have told everything, have never lied, 
and have nothing to hide. 

DISTRICT ATTORNEY. I would advise you to tell 
everything as it happened. Protosov has already confessed 
and will undoubtedly repeat it before the court. I would 
advise you. . . 

KARENIN [Protestingly — rising in his seat]. I would 
advise you to keep strictly within the framework of your 
duties, and dispense with your personal advice. . . 

JUDGE [Motioning Usher to stop him, which he does.] 

DISTRICT ATTORNEY [To Judge]. I have no further 
questions, your honor, until I question Protosov in their 
presence, bring them together face to face, so to speak, and 
let him look them in the eye. . . 

[To Liza]. It will give you a better chance to catch him 
telling a lie. . . 

JUDGE [To Liza] . Please sit down. [To Uusher]. Call 
FEDIA Protosov!... 

USHER [Aloud]. Fedia Protosov! 

[Enter Fedia. He looks twenty years older; is dressed 
neatly, but his clothes are very old, cheeks hollow, and the 



ACT THREE 37 

general appearance that of a physical wreck. The sparks of 
a noble nature show up eloquently in all his movements and 
actions.] 

FEDIA [A fierce struggle in his soul, to Liza on his knees 
before her.] 

I am not to blame. . .1 wanted to do it right, but if guilty, 
forgive me, forgive me! [Kissing the hem of her dress.] 

[At a sign from the Judge, the Usher with wide open eyes 
runs up to Fedia, lifts him up and brings forward.] 

USHER [Picks up Bible and is about to swear him in.] 

FEDIA [Waving him aside]. I refuse to swear!... But 
[Raising his right hand]. I hereby affirm to state the truth, 
and nothing but the truth!... 

[The Usher leaves at a waive of the hand from the 
Judge.] 

JUDGE [To Fedia]. Your name?... 

FEDIA. You know my name. 

JUDGE [With a weary sigh at being obliged to repeat the 
same question]. Answer my question. [Glancing over a 
paper that lies before him]. I will not stand any nonsense. 

FEDIA [Waving his hand]. Fedia Protosov. 

JUDGE. Age?... 

FEDIA [Irritated]. Ask what is important, not these 
stupidities!. . . 

[PICTURE.] 

JUDGE [Threateningly]. It is important! Answer my 
questions and be more careful in the wording of your re- 
plies ! . . . 

FEDIA [Impatiently, looking at the Judge with an ex- 
pression of readiness in his eyes, while a fierce struggle goes 
on in his soul, casting a glance around the room]. I am a 
Russian noble. . .age 38. . .Doctor of Law. . . [Pause] . . .what 
else? 

[During the proceedings, the Jurors whisper to each other, 
and make movements generally with their eyes, arms, etc.] 

JUDGE [To Fedia]. Have you ever been tried before? 

FEDIA [Softly]. No... never! 

JUDGE [Lifting up a paper and replacing it.] Have you 
received a copy of the indictment? 

FEDIA [His eyes fixed on the Judge] I have. .. [Sighing 
from time to time.] 

[The District Attorney gets up, facing Fedia, ready for 
his prey.] 



38 "FEDIA" 

DISTRICT ATTORNEY [Eying him and the Karenins 
in turn]. Did Karenin and your wife know that you were 
alive, when you disappeared leaving your clothes on the 
bridge ? 

FEDIA [Emphatically — Eying Victor and Liza in turn]. 
No, they did not know!. . .1 wanted to kill myself in earnest 
then. .. [pause] .. .well. . .his need not be told, the fact is, 
they knew nothing ! . . . 

DISTRICT ATTORNEY [Sharply]. You told a differ- 
ent story to the Police Inspector... 

FEDIA [Reflectively]. Ah, the fellow who visited me in 
prison. I don't remember that I did... I am sober now and 
stating the whole truth. They knew nothing and believed 
me dead!... I was glad they did, and so it would have re- 
mained, were it not for Mr. Berns. If someone is to blame, 
I ... I alone am guilty ! . . . 

JUDGE [Cordially]. I understand you want to be big- 
hearted, shield your companions and all that, but the law de- 
mands the truth. . . 

DISTRICT ATTORNEY. Why was money sent to you? 
[Fedia silent]. [With greater emphasis]. You have received 
through Semonov the money which was sent to you to Bos- 
ton. [Fedia silent]. Threateningly]. You refuse to answer. 
Very well, I will answer for you. . .Your honor and [turning 
to jury] Gentlemen of the Jury, ten years ago on the 17th of 
this month a fake suicide was committed by the Prisoner, 
Fedia Protosov, for the purpose of legalizing a marriage be- 
tween the prisoner's wife and Victor Karenin, who has just 
testified. . . [pause] . . .On inquiry it was learned that the said 
Fedia Protosov received $1,200 from Mr. Karenin, a short 
time before his disappearance. [Eyeing the judge and jufy 
in turn]. In other words, the prisoner accepted a bribe of 
$1,200 for outwitting the Law and outraging the conscience 
of society. .. [pointing to numerous law-books on his table]. 
There are 47 clauses in 47 different law-books on my table, 
which with your honors permission I would like to read to the 
jury, each and every one of them pointing to a conviction and 
a penalty of imprisonment for him and his wife. . . 

FEDIA [Bitterly] Mr. District Attorney !... Aren't you 
ashamed to intrude so boldly with your heavy boots into the 
life of another. . .Glad that you have the power, you torture 
mentally and physically people who are a thousand times 
your superior. 



JCr THREE 39 

[His face growing serious and severe, a strange feeling of 
loathing, mingled with suffering aroused within him]. On my 
word, and on my honor, I have never received a cent from 
them which did not rightly belong to me... But [turning to 
jury and eying the District Attorney] it's quite natural that a 
man who sells himself to prosecute people, day in and day out, 
all the year round, could not comprehend a human action 
which had no monetary return as its foundation. . . [The Dis- 
trict Attorney gets red in the face]. 

JUDGE: — [To Fedia, angrily]. I will overlook your first 
offense, but a repetition of personalities will make you liable 
for Contempt of Court!. . . 

FEDIA [Boldly]. He started it, and your threats are 
meaningless to me. .. [pause] .. .you can't frighten into fall- 
ing out of bed a man who is lying on the floor. . . [pause] . . . 
don't apologize...! will have my say ... Nothing can make 
my condition worse. . . 

DISTRICT ATTORNEY [Cunningly]. I am glad he es- 
timates rightly his prospects for acquital, and I rather like his 
outbursts, since it gives the jury an opportunity to see the 
kind of criminal they have to deal with... Now, with your 
honors permission, I would like the jury to examine the 
articles in evidence... 

JUDGE [Quietly]. Motion sustained. 

DISTRICT ATTORNEY [Getting the cap and pistol from 
the Judges table, inviting the jury to examine them. Both of 
the above articles have seals and labels attached to them.] 
[The foreman rising in his seat, taking the cap and revolver 
from the District Attorney, the articles are passed on until 
they reach the twelfth juror, and by him returned again to 
the foreman, then to the District Attorney.] 

DISTRICT ATTORNEY [To Fedia, sardonically]. Where 
did the blood on the cap come from? Unlike Joseph's coat, 
I have sent it to a laboratory, had the blood tested and found 
that it was human blood!... 

FEDIA. I will say no more. 

JUDGE [Leaning forward]. Leaving out the blood inci- 
dent, which after all is trivial, and practically immaterial, do 
you plead guilty on all other counts? [Lifting the Indictment 
before him with a graceful movement of the hand, and re- 
placing it again to its former position.] 

FEDIA [Looking at the Judge and jury in turn]. I deny 
thoroughly and absolutely the complicity of either Mr. Karenin 



40 "FEDIA" 

or Liza in my act, all other evidence to the contrary notwith- 
standing. The power of the State is always exercised against 
the rights of the individual, I expect no justice at your hands 
and regard your sessions and examinations as unnecessary 
formalities. But I want it known that I was prompted by no 
other motive but that of seeing those who are dear to me 
happy. [Pause]... It is not I, but your stupid laws which 
are on trial. Marriage is a business contract regulated by 
law, not a sacrament. 

DISTRICT ATTORNEY [Rising]. Gentlemen of the 
jury... [with half crossed eyes and a cunning smile] .. .you 
have heard the prisoner's admission of his act. The fate of 
society is largely in your hands, your verdict will influence it. 
Help us to keep down lawlessness and immorality of this 
kind. Grasp the full meaning of this crime, the danger that 
awaits society from this man and men like him, and help us 
guard the innocent and strong elements of society from con- 
tagion and infection. In the name of social purity I implore 
you to show this lawbreaker no mercy. [Sinks in his chair, 
highly delighted with his own speech.] 

JUDGE [To jury, pleasantly]. In summing up, let me 
say that if you find the prisoner guilty, you have the right 
to specify the degree of guilt, guilty on one count, or guilty 
on the other. Guilty for trying to evade the law, but not 
guilty on the question of pecuniary gain. If not guilty, you 
may give the verdict of not guilty, but the right to re-marry 
is taken away from the prisoner by the court, irrespective of 
your decision. On all other counts, the decision rests en- 
tirely with you . . . This right is given to you, but you should 
use it with reason and in accord with the best dictates of 
your conscience. Your answers are to affirm everything in- 
cluded in a given question. If you don't wish to affirm the 
whole question, mention the part of the question you wish to 
be accepted. You are the conscience of society, use your 
rights, but don't abuse them. 

[As the jurors are about to rise]. One moment, the 
prisoner remarked that he expects no mercy at your hands, 
and his mind is evidently so embittered that he refused the 
services of counsel which was repeatedly offered to him by 
the court as his right and without cost. .. [Plaintively] .. . 
Whatever views a man may hold on given questions and 
social regeneration, some form of government being neces- 
sary for the present, I can't think of a better and more rea- 



ACT THREE 41 

sonable method than the jury system. [The jurors rise]. I 
want the prisoner to remember that no opportunity to plead 
was denied him... For this reason. I will make an exception 
to the rule and give the prisoner the final word! [The 
jurors reseat themselves and silence reigns as Fedia gets up.] 

FEDIA [Realizing his opportunity, taking advantage of it, 
eyeing the jurors.] Your honor and Gentlemen of the jury. 
Appreciating the privilege extended to me by His Honor, let 
me emphasize first that my act was voluntary. It was not 
called forth by monetary returns or any other material con- 
sideration. [Concentrating his gaze on the foreman]. I 
■want you to consider the conditions which forced me to com- 
mit this act. [Gesticulating]. It was not consummated out 
of love for trickery and homage to falsehood, but in self- 
defence, and as a protest against the abominable divorce laws 
and conditions which are forced upon all respectable people. 

For heaven's sake, why" should one make eternal the hell 
whose torments are as varied as they are overwhelming? 
Why should not reason correct the mistakes of chance, mis- 
calculation and deceived hopes? Why should men and women, 
who live together in misunderstanding, continue to suffer 
agonies which are worse than death? What worse state of 
exisetnce can there be than being tied together body and soul 
in hatred and scorn? 

Mine was a declaration of independence nailed to the wall 
of social prejudice as neatly and as noiselessly as I could 
do it! It was the fact that I was acting for moral righteous- 
ness that gave me the necessary courage [Whispers among the 
jurors]. [In a somewhat lower tone]. The three of us found 
our relations complicated, delicate, and there ensued a spir- 
itual struggle. Under the conditions already known to you, 
the struggle was ended and all were satisfied. They were 
happy cherishing my memory. In my down fall I was glad 
to have done the correct thing, that the good-for-nothing that 
I am, have stepped aside from life and happiness in order 
not to interfere with them who are good and so full of life 
...And we all lived, lived peaceably without interfering with 
others. Suddenly the police learns my secret and turns me 
over to the champions of law and morality, who receiving a 
monthly allowance for their work, could not possibly con- 
ceive the idea of leaving others in peace. .. [eying the Dis- 
trict Attorney] .. .To satisfy his ambition which consists of 
getting a conviction every time he prosecutes, irrespective 



42 "FEDIA" 

of the guilt or innocence of the accused, the District Attorney 
will not rest until he has sent me to prison, broken up Liza's 
home, ruined her life and that of her husband, making social 
outcasts of their children. He will not be satisfied until he 
has drowned us in mud and blood, all for his personal ambi- 
tion, which he chooses to nickname morality, law and order. 
[The District Attorney makes a movement to interfere, but 
is checked by a waive of the hand from the Judge]. But 
what is my crime?. . .what am I tried for?... I will tell 
you. .. [Taking a long breath]. My crime is that I did not 
commit suicide, that my act did not have the loss of life as 
its consequence, an act which is regarded as equally criminal 
by church and state!. . .Gentlemen, I appeal to your manhood, 
to your broad humanity !... [Sits down]. [Sensation]. 



[The jurors talk in whispers, then leave their seats, one by 
one, and exit to the hall. All others remain in their seats, 
consulting their watches, whispering, etc.] 

JUDGE [To Usher and District Attorney]. While the 
court is waiting, will you kindly see if the witnesses and attor- 
neys are ready for the next case. 

USHER [Inquiringly]. And that is? 

JUDGE [Consulting his papers]. The People versus 
Alexandrove, for an attempt at suicide. [The sound of a bell 
behind the scenes.] 

DISTRICT ATTORNEY [Jumping to his feet]. Your 
honor, all the evidence for the prosecution is complete. The 
man has confessed and I have here twenty-three different 
paragraphs in twenty-three dififerent sections. .. [pointing to 
his books] ... [Interrupted by the entry of the foreman of 
jurors who hands a paper to the Judge.] 

JUDGE [Reading from the paper]. The jury regrets the 
incident, but convinced that no past misdeed could be rectified 
by committing a new crime, recommends the legal annulment 
of the fiirst marriage and renders the verdict of not guilty. 
[Lifting his eyes from the paper]. Not guilty!... 

[Applause and general rejoicing from all over the room, 
there is an inroad to shake Fedia by the hand, and the air is 
filled with the voices of frantic men and women, waiving hats 
and handkerchiefs, and crying FEDIA!. . .FEDIA!. . . 
FEDIA! AS THE CURTAIN FALLS. 



©C1.D :U791 
A PLAY FROM MODERN AMERICAN LIFE 

By A. B. EBIN. 

Author of "Arbitration," "Roosevelt," "Fedia," "Portia in 
Politics," "Marriag cables," etc., etc. 



1. John Callman 

Millionaire politician and head of banking trust — age 55. 

3 Monimad Springmeyer, Callman's Secretary, age 33. 

4. Henry Blank, a young lawyer, age 25. 

5. Charley, Callman's office assistant, age 80. 

6. Gorilla, Springmeyer's underworld protege, age 40. 

7/ /^^^ ea.-^^t..^,^i^..^ ajnf-^i^^^i^ dv^-'^-^^^^^^-^' 



TIME— The Present. 

PLACE — Any lange city in America — 
Mr. Callman's private office. 



**®l|0 Olompromiatttg ^^liotn." 

1 Mr. Callman's private office, in a modern office building; 

A large spacious room in very good taste, architecturally and 
otherwise. 

Doors L. U. E., R. U. E., and left of centre. 
Large flat top desk C, revolving chair near it, two other chairs 
at its sides. 

Telephone, flowers and other little ornaments both sides of 
inkstand, C. 

A smaller desk, that of his Secretary on the right, revolving 
chair near it. A pigeonhole letter-box for domestic distribution 
on the left above it. Safe of the latest model near wall L. Map 
of the Uijited States on wall above it. Portraits of prominent 
Americans both sides of map and wall R. 
The room is empty as the curtain rises. 

[Enter Charley R. U. E. with two sets of documents and 
several unopened letters, fingering the letters he reads the names 
of their senders ini the L hand side of envelopes, then placing 
them unopened on Springmeyer's desk with one set of documents, 
placing the other on the President's desk.] 

Enter Springmeyer, L. C. He is the born Secretary ; smooth 
face, rather long, regular features. His clothes are faultless and 
in the latest style. 

[Charley, taking out the letters with his right hand, replacing 
them to his left.] 
SPRINGMEYER [Handing him a number of telegrams]. See 
that they are dispatched immediately. 

[Exit CTiarley. taking letters and telegrams with him.] 
[Springmeyer busies himself with opening letters brought by 
Charley, leaving most of them on his own desk, taking some to the 
Presidents' desk, which he places.^., as the telephone bell rings.] 

[At phone.] I cannot definitely accept your invitation. I will place 
it before the President at the first opportune moment and communi- 
cate to you his decision. 

[Enter Charley, handing Springmeyer a reporters card.] 
[Springmeyer. eyeing Charley and card in turn.] Tell the Re- 
porter that as a courtesy to the Investigating Committee Mr. Callman 
does not intend to make any further public statements for an indefinite 
time. [Exit Charley.] ,^ 

[The phone rings again — Springmeyer at phone.] The President 
hasn't had time to take up your matter — try again next month. 



46 THE COMPROMISING PHOTO 

Your last letter? Well, there are thousands of other letters just 
as important to their senders which are ahead of yours — ^you must 
await your turn. Who is this?.... Mr. Leace of the State Repubo 
crat Committee? I was just going to call you up!... Mr. Callman 
wants you to book him as usual, $50,000 a piece for each of his com- 
panies — his regular subscription. . .What?. . .It is very kind of Mr. 
Callman,. . .well, he doesn't mind a little thing like this. ..under your 
unequalled protection methods he adds one percent more to our com- 
mission charges and gets it all back again in no time. I will mail 
you his check just as soon as I can get at the cashier to make it out^ 
and at Mr. Callman to sign it. . .Yes, yes, Mr. Leace, positively! By 
the by your assistant promised to send me one of his faithful gorillas 
for a neat and urgent piece of work to be done immediately ! [pause] 
What? he should be in my office by now?... Good! 1 will inquire 
[looking about.] Good bye!. .. [Hangs up receiver.] 

Enter Gorilla. [He is |a man of about forty; eccentric dress and 
mannerism, showing his past crime record in his face; speaks with 
an accen*^. A physical and mental degenerate, the vilest product of 
the! country and the times.] 

GORILLA [Displaying a badge under his coat.] Mr. Spri — Mr. 
Springmeyer — I has been sent 'ere by "The National Crime Associon" 
for a neat, quick job to be done, as I understands it, to remove-some re- 
former, or such insect. 

SPRINGMEYER [Convincing himself first that the badge is O. K., 
then harking at the doors to reassure himself that they are not over- 
heard.] Yes, there is a national curiosity [sneeringly and emphaticalty]. 
An honest lawyer, whom we could not afford to try legally and who 
should be removed at once [emphatically] at once, you understand. 

GORILLA [Making wild gestures, etc.] Oh!... I jes loves me 
works!. . . [Animatedly.] An de price, de price. . . 

SPRINGMEYER [Placing his hands on Gorilla's shoulder as he 
hands him a cigar. The price, the price comrade, is all right...! 
understand that your regular consultation fees are a thousand dollars. 
[Gorilla nods head in approval.] Well, friend, we will double it 
[taking out pocketbook and handing him some bills.] Here is five 
hundred on account, the rest will be paid over to you right here, the 
moment the job is done [nudging him]. Do you get me comrade? 

GORILLA [All smiles.] I'se wise, I'se wise! [Examining the money 
and counting it with feverish excitement.] 
[The telephone bell rings.] 

SPRINGMEYER [His hand on gorilla's shoulder.] Wait in the 
next room friend, until I give you the signal — I will not keep you long. 
[Exit Gorilla.] [Springmeyer takes up receiver.] 



THE COMPROMISING PHOTO 47 

Who is this? [pause] Ah— this is Miss Kitty... Yes, my dear... 
Father telephoned yesterday afternoon that he would be rather late. . . 
I know, it was I who telephoned, yes. ..You are worried for he has 
not shown up at all. [Knowingly.] There is no cause for alarm. .. 
about Mr. Callman. He has been at an all night conference with other 
men of great affairs who are devising means and ways for checking 
the wholesale investigations ... What ... you are coming over. . .good 
. . .always glad to see you!. . . [Replacing receiver.] 

[Enter John Callman. He is about 55. Expressive play of fea- 
tures ; physical and moral passions strongly marked ; a clear eye, a 
fine brow, and forehead, the stoutheartel captain of a great band of 
merry money makers]. 

[Glancing hurridedly through the letters placed on his desk by 
Springmeyer]. 

CALLMAN [Drinking water, repeatedly mopping his face with a 
handkerchief.] Any further news from the Investigating Committee? 
What is their latest discovery? [Showing thei strain under which he 
is laboring.] Laterly it seems that the public actually lives on investi- 
gation sensations. 

SPRINGMEYER. Our activity in connection with farming out pub- 
lic funds to favored banks seems to be the hardest for them to digest. . . 
[Reading from printel leaflet.] "The Superintendents of Banks of 
this and other States should be forced to perform their duties." Yes, 
the Investigating Committee is revealing something of the situation, 
but so far they are only nibbling around the edges, 

CALLMAN [Heling himself freely to ice water.] These all night 
meetings, cross-examinations, and wholesale onslaughter of the Press 
are telling upon me. The)] make me fear the possibilities of sudden 
death. [Pause] That reminds me... Take out my last Will, I want 
to examine it again, it might want some touching up. 

SPRINGMEYER [.Alarmed, as he proceeds to open the safe.] You 
haven't changed your mind, Mr. Callman, about making Kitty heir 
as I believe he is. P.ut [emphatically] if at any time it is established that 
to your fortune? 

CALLMAN [Thoughtfully.] No, not if my own child is really dead, 
I believe he is. But [emphatically] if at any time it is established that 
he is alive, then the bulk of my fortune goes to him. 

[Taking the will from Mr, Springmeyer who had by now opened the 
safe and produced the 'desired document.] It is to make this point 
clear that I want to consult the will again. [Glancing through the 
document carefully]. 

SPRINGMEYER [Cunningly.] You told me, if I remember cor- 
rectlv. that vour wife and child were killed nearly twenty years ago 



48 THE COMPROMISING PHOTO 

during an Indian uprising in the plains of the West, shortly after you 
left the East as a poor man, to win fortune for them. . .Do you believe 
in the return of the dead? 

CALLMAN [Absorbed in thought]. Only the body of my dead wife 
was found. During all these years I failed to obtain exact informa- 
tion about the child. 

[Enter Kitty in out-of-door clothes.] 

[Kitty is 18, bright, intelligent, rather fair, free and easy man- 
ner; everything about her bristles with youth and life.] 
KITTY [As she perceives Callman in his usual place, removing her 
glove]. .So glad to find you in. 

CALLMAN [Rising to receive her and kissing her]. Ah, [point- 
ing to will in his hand] here comes the sole executrix of this pre- 
cious little document. 

SPRINGMEYER [Playfully]. I am sure you will survive us all, 
Mr. Callman. Men of your abundant vitality should be ashamed to 
talk about dying. 

KITTY. He is quite right ! Why talk of dying when all around, 
everything, everywhere bristles with life and fun? [Laughing.] 

Even Springmeyer is taking on a new lease on life; he actually 
proposed to me — yesterday. 

CALLMAN [His hand on Springmeyer's shoulder]. Springmeyer 
is my closest friend in the company and is very acceptable to me, but 
it is yourself with whom, after all, the decisive answer rests. 

[Aside to Kitty — bidding for sympathy.] I control the savings 
of our people to all practical purposes as if they were my own. 
[Ephatically.] It is my own, if only, if only I could keep my 
important assistants and associates in the family. [Sighs.] How 
happy I would be if I had children of my own. 
KITTY [Sympathetically]. I feel for you, father, but I don't love 
Mr. Springmeyer. 

[The telephone bell rings. Springmeyer takes up receiver, re- 
peating.] 
SPRINGMEYER. All members of the Finance Committee are in 
the Committee Room waiting for the president. 

CALLMAN [As he e.xits, holding Springmeyer by the hand]. I 
shall be very joyful to hear that she accepted you, but you will have 
to do your own courting and winning and get her consent first. 

SPRINGMEYER [Attempting to take Kitty by the hand, affec- 
tionately, in low tone]. Those who love the most, know the least 
how to express it, and this is exactly my case. 

KITTY [Playfully]. You have evidently forgotten that this is 
your second proposal since yesterday. 



THE COMPROMISING PHOTO 49 

SPRINGMEYER [Holding her L hand, admiringly]. What a 
dainty Httle hand! What a beautiful work of nature! [Looking 
persistently at her.] Could any artist reproduce those lively, and pleas- 
ing eyes, which flash like stars and your smile [noticing that she is 
solemn] ; oh, do smile. Miss Kitty. 

KITTY [Distantly]. You have taken me by surprise, Mr. Spring- 
meyer. I really didn't know that outside of heaping dollars upon dol- 
lars, you had eyes for anything. 

SPRINGMEYER [Aggressively]. Who could remain indifferent 
in the presence of a daughter of the gods, so graceful, so refined and 
so divinely fair ! 

KITTY [Playfully]. Springmeyer and love making! Excuse me 
... I can't get quite accustomed to it, to me it sounds like poetry 
from a sphinx. 

SPRINGMEYER [Earnestly]. I have always been and always 
will be your devoted lover, most passionate admirer — and — in your 
power ... [in a lower voice] Mr. Callman is quite agreeable . . . 
anxious in fact. 

KITTY [Complainingly]. This was a mistake on your part. Had 
you consulted me first, I would have saved you all the trouble. 

SPRINGMEYER. You mean that you woud have accepted me at 
once . . . [Joyous.] I knew it, I was sure of it all the time . . . 
[Makes movement towards her.] 

KITTY [Distantly]. No, no, certainly not, had you asked me, I 
would have told you that my affections are placed elsewhere. My life 
tour is already booked. 

SPRINGMEYER [Aroused]. If you refer to Henry Blank 
[sneeringly] the boy lawyer, you might as well know that he has been 
fired from the company, and financially, compared with me, well 
[proudly], he practically doesn't exist. 

KITTY [Her feelings hurt]. Now when you talk dollars, you are 
yourself again, Mr. Springmeyer. [Rising abruptly.] You will 
please leave Henry, [correcting herself], Mr. Blank, out of your 
futui^ conversations. 

SPRINGMEYER. Don't be angry with me. Miss Kitty, I love 
you and will love you always until my death and after, [looking per- 
sistently at her], but I want you to know that Mr. Callman is dead 
sore at the way your Mr. Blank has been going on of late. 

KITTY [Inquiringly]. You refer to his becoming an attorney for 
the Investigating Committee. Well, what can I do? 

SPRINGMEYER [Instructively]. Take my advice and warn him 
of the dangers and difficulties of the hail-sloney road he has set him- 
self to travel. 



50 THE COMPROMISING PHOTO 

KITTY [Playfully]. Thank you, Mr. Springmeyer, I will cer- 
tainly speak to Henry ; it is not for him to attack father. 

SPRINGMEYER [Gallantly]. My dear, charming Miss Kitty, tell 
him what is more to the point and purpose, tell him that he is oppos- 
ing the greatest power on earth, and that so far, anyone who attempted 
to do anything which was contrary to what this power allows, found 
himself surrounded by unsurmountable obstacles. 

[Enter Charley with card, handing it to Springmeyer.] 

SPRINGMEYER [Pointing to card]. I have sent for your Mr. 
Blank, and he is here! . . . 

KITTY. I am glad he called. Let us hope that you will come to 
an understanding without the unpleasant necessity of my speaking to 
him about it. [Moves to exit.] 

SPRINGMEYER [Detaining her]. Please remain. [To Charley.] 
Ask Mr. Blank in. [Exit Charley.] 

[Enter Henry Blank.] [He is dark and rather tall. A shrewd 
face, showing determination and will.] 

KITTY [Greeting Henry cordially]. Hello, Henry. 

HENRY [Greeting her in return, then indignantly to Springmeyer]. 
I had no idea that I was sent for to meet Miss Kitty. 

KITTY [Reassuring]. My presence here, Henry, is purely acci- 
dental. 

HENRY [Eyeing Kitty and Springmeyer in turn]. I have never 
known Springmeyer to trust anything to chance. 

SPRINGMEYER. I have sent for you, Mr. Blank, on behalf of 
Mr. Callman to ascertain what you are doing as the figurehead of an 
Investigating Committee. 

HENRY [Proudly]. Working for the people, for right to replace 
might. 

SPRINGMEYER [Plaintively]. You can't say we haven't always 
done what the true conditions permitted us to do. 

HENRY [Artfully]. Indeed you have, no tyrant could possibly 
have done more. 

KITTY [Unnerved]. Henry! 

HENRY [Leisurely]. Oh, I am not afraid of him, the humblest 
person, fighting for a righteous cause is stronger than all the hosts of 
error. 

KITTY [Soothingly— petting him]. I know that the loss of your 
position has hit you hard and in more ways than one, but learn to 
control yourself [pleadingly] for my sake. I hope you will make it 
tip by the time I return. [Exit.] __ 

SPRINGMEYER [Assuring himself that they are alone]. You 
are bold, Mr; Blank! Entirely apart from the Callmans, have you 



THE COMPROMISING PHOTO 51 

figured the consequences if you continue to attack us? We are the 
jTOwer in politics ; our wish is law and our rule unquestioned. 

HENRY [Self-confident]. Frankly speaking, I don't care a rap 
what the consequences may be. I have a duty to perform to the 
people which is paramount to all others. You don't know the iron 
that has been driven into me all these years. 

SPRINGMEYER [Playfully]. If you are only seeking to serve 
the people, let me prove to you that your so-called Committees can 
only cause great losses to the people's interests. Take my advice and 
drop it. 

HENRY. No, I intend to stay on the firing line. I know the facts 
and things as they are ; the damage to the people will be much greater 
if I refrain from doing what I decided to do, than by my doing it. 
1 feel it incumbent on me to do all I can to secure the reforms in 
which I heartily believe. It is for you that the time has come to 
beat a hasty retreat. 

[Enter Callman. Taking in the situation at a glance, eyeing 
Blank and offering hand, Henry taking it.] 

CALLMAN. Well, well, if it isn't my old protege, Henry Blank! 
[Offering cigar, Henry refusing it.] I am mighty glad to see you! 

SPRINGMEYER [Cunningly]. Mr. Blank is the active legal head 
■on the new Committee for reform. [Sarcastically.,] Mr. Blank is the 
new champion of the people. 

CALLMAN [Artfully]. I am mighty glad to hear it. The interest 
of the people is paramount and always has been my first consideration. 
Under my administration everything is being settled on the basis of 
equity and justice to the people, first, last and all the time. If Mr. 
Blank has something new to suggest which will serve the people's 
interests, he may count on my co-operation now and always. 
[Springmeyer lingering behind.] 

HENRY [Cunningly, taking out papers from his breast pocket]. 
What a pity, Mr. Callman, that your big words mean so little. Let 
us surmise the facts [pointing to papers in his hand]. I hold judg- 
ments against you in favor of the State for over half a million dol- 
lars, you having acted as bondsman for practically all the State Treas- 
urers who deposited the public funds without interest in banks which 
you have chosen. Now, this being a pioneer case for the enforcement 
of correct principle in the discharge of duty regarding the custody of 
trust funds, I will see to it that the judgment is collected. 

CALLMAN [His pocketbook in left hand and roll of money in the 
right]. This is an awfully important case to me and I cannot afford 
to lose it. It costs me considerable anxiety. [Extending right hand.] 
Now, Mr. Blank, I don't want to hire you as my attorney, but I will 



r,2 THE COMPROMISING PHOTO 

give you a thousand dollars now and five thousand more when this 
judgment is shelved and the Courts decide the case right. [Offering 
the money.] 

HENRY [Excitedly, making a movement towards him, knocking 
the money out of his hand]. You couldn't insult me more, Mr. Call- 
man, if you struck me in the face or on the head. You don't want to 
employ me as your attorney — you simply want to bribe me [pause]. 
Well, I am not for sale ! . . . You haven't money enough to stay my 
hand, and incidentally, I may mention that this is not the only case 
of financial irregularities which I have against you. 

CALLMAN [Bending down and picking up the money. Replacing 
money in right-hand pocket]. [Abruptly.] Spare me the details of 
your great financial discoveries. [Replacing pocketbook in L. H. 
pocket.] I have been identified with financial matters before you were 
born, and I am not asking you or anybody how to run my business. 
HENRY [Emphatically]. I know, know it but too well. I have 
made up my mind that I would do all in my power to defeat you and 
am doing it. Springmeyer has been threatening me, but I will follow 
my course wherever it might lead me. During your term of adminis- 
tration great injustice has been done to the public, and it is time to 
call a halt. 

CALLMAN [Facing him]. What do you purpose to do? 
HENRY [Earnestly]. I intend to expose your deviltry; let the 
public see the wrongs you have wrought and halt your greed. [Rais- 
ing his right hand.] You have made public office a stepping stone to 
great financial success, heaping dollars upon dollars until the pile 
dazzles one. 

You have made government committees acting upon legislation, 
graveyards of all bills designed to give the people a fair show in their 
dealings with your companies, and the fortunes which you squander 
annually represent the blood and tears, the sweat and brawn of 
millions. 

[Walking to and fro.] Let us contrast all this with your brazen 
profession of virtue. [Banging the table.] The government clerks at 
the Banking Department are elected direct from your office at salaries 
ten times their earning capacity or value. 

[Springmeyer, making signs to Callman unseen by Henry, as 
he exits.] 
You have filled all important places in your companies with your 
personal friends and relatives, the salary list reaching into millions ! 
Now, Mr. Callman, yesterday you loomed before the American pub- 
lic as the greatest, most respected, and most venerable man in our 
broad land, tomorrow your name will stand for everything that is 



THE COMPROMISING PHOTO 53 

tricky, fraudulent and oppressive. Yesterday, even I mistook you for 
an honest man, a mistake for which I oflfer an apology, tomorrow the 
world will know you as the man drunk with power, infamy, and 
abomination. 

Toiiiorrozv with a mask, bag and dark lantern, you will stand out 
so clearly before the world for what you are, that you could not escape 
the consequences of your past misdeeds, nor commit new ones. 

Tomorrow I will bring about the restitution of the vast amounts of 
money which in the past you have appropriated from the public funds 
for your private use and show you up as a criminal. 

I will drag you out of your Wall Street conservatory and show how 
\ on administered a most sacred trust. 

[Banging his fist on Callman's desk.] 

Tomorrow, before the Investigating Committee, I will set you up 
in the plain white light of day. [Banging repeated.] Tomorrow, 
before the whole world, I will ask you publicly [pause] John Call- 
man, for your resignation ! . . . 

CALLMAN [Speechless, motionless, remains standing as if struck 
by lightning; then regaining his composure he picks up Henry's hat, 
handing it to him gallantly and shows him out of the office through 
door C] without a word. 

[Goes to table, drinking water rapidly.] 

This is democracy! ... A mushroom lawyer telling me how to 

run my business and asking for my resignation! ... A mere boy 

dares to speak to me like this in my own office, and I am powerless, 

helpless. I, John Callman, Empire builder! [Collapses in his chair.] 

[Enter Springmeyer.] 

SPRINGMEYER [Jubilant]. It's done! I've done it! I have 
fixed this "Red" so that he can't do us further harm. ... He 
stumbled over the Gorilla's foot in the hall, knocked his head against 
the steel railing of the stairway and fell unconscious to the very 
bottom of the stairs. 

[Enter Gorilla and Charley, carrying Henry who is unconscious 
and bleeding. Henry's left temple is badly cut, the blood stream- 
ing down his clothes and collar. Charley supporting Henry under 
his arms, holding his head on his chest, nervous and upset.] 

CHARLEY [Excitedly]. This man is unconscious, where shall I 
put him? 

SPRINGMEYER [Nervous and excited]. Not in here, you block- 
head, not in here . . . [Annoyed]. Oh, Charley, how could you be 
so stupid ! 



54 THE COMPROMISING PHOTO 

[As his eyes meet that of Gorilla his expression changes. Goril- 
la holds out his hand and Springmeyer shaking it hands him a 
bankroll, unnoticed by the others.] 
[Exit Gorilla.] 
[Charley is about to exit.] 
Wait . . . Wait . . . 

[He quickly searches Henry's pockets, relieving him of his be- 
longings consisting of large leather pocketbook, watch and chain, 
pen, pencil, some money, etc., replacing money, etc., to former 
places, but retaining pocketbook.] 
[To Charley.] You are very careless, Charley. 

CHARLEY [Letting go of Henry, placing him on chair, falling on 
his knees before Springmeyer]. For God's sake, Mr. Springmeyer, 
Mr. Springmeyer, you wouldn't tell, you wouldn't tell that I did it. 
You wouldn't allow them to arrest me for murder? I swear, I*swear 
to you that I haven't done it. 

[Fixing his gaze on Henry, who lies unconscious before him; 
his R. knee up, and Left down.] 
SPRINGMEYER. [To Charley.] Quit, you blockhead! Take 
him to the Committee Room, fill him up with whiskey from within and 
his clothes from without. Cut his trousers so that he looks more like 
a tramp than a gentleman ; then remove him to the corridor in the 
rear ; keep your mouth shut, and await further orders. 
[Tearing Henry's clothing, tie and collar.] 

[Charley makes an attempt to lift Henry in his arms, but over- 
come by the weight and fright as he looks into his victim's face, 
he lets go of Henry, who unconscious as before, drops into the 
chair again. Charley, unnerved, covering up his face with his 
hands.] 
[Picture.] 

[Springmeyer comes forward lifting Henry, assisted by Charley, 
Henry's face toward the audience as Charley places his arms 
into Henry's from behind, lifting him on his back, Springmeyer 
assisting until they are out of sight.] [Callman tapping his hands 
and walking about unnerved and uneasy.] 

[Returning to his desk agitated and excited, Springmeyer takes 
up receiver] . . . Central, give me Police Headquarters, yes, 
urgent. Captain, this is Springmeyer of the Secret Service . . . 
There has been an accident near our building ... I want the 
party removed to a hospital and the affair kept out of the daily 
papers . . . See that reliable men only are sent with the am- 
bulance . . . Hurry ! I don't want the man to die here . . . 
nor at the hospital during the first day of his arrival. No, I don't 



THE COMPROMISING PHOTO 55 

want an operating- chair prepared, but within a reasonable time 

you may order a grave dug and charge the expense to me. You 

will attend to it immediately, good! [Hangs up receiver.] 

CALLMAN. This may or may not prove to be the proper move 

. . . with all the newspapers heralding our lack of equity, it was 

hardly, timely ... to commit murder! 

SPRINGMEYER [Retreating]. If we see fit we may allow the 
man to recover a few months hence. Besides, John Callman has no 
one to fear ! . . . 

CALLMAN. True, we must instantly and at ^y cost squelch the 
rash souls who cross our paths. 

SPRINGMEYER. When I saw a mere boy calling at our head- 
quarters and demanding your resignation, the resignation of John 
Callman, the master of the people's savings, I could stand it no longer ! 
. . . There was no time to lose. I told the Gorilla that this man's 
activity must be stopped at once, and he understood what I meant and 
what was expected. * 

CALLMAN [Deeply touched — pressing his hand]. At this critical 
moment of my career, you proved more than ever your extraordinary 
devotion to me and shall be rewarded accordingly. 

[Coming up closely and touching him on the shoulder.] 

Kitty shall be your wife, I will make it so. 

[Excitedly.] I will send you on a supposedly business trip to Europe 
at the earliest possible moment to visit our European agencies. Kitty 
will start on a pleasure trip shortly afterwards. [Confidingly.] You 
will meet in London, Paris, Rome, and there amidst the beauty of 
art and nature, away from all other disturbing elements and influ- 
ences, victory will only be a question of time. 

SPRINGMEYER [Confidently]. True, there it will be a landslide. 

CALLMAN [Picking up Henry's leather pocketbook, opening it 
and displaying several documents]. "The Secrets of the Investigating 
Committee at a Glance" ; [changing to another page] "The Proposed 
Reforms" ; [coughing — then turning over the page] "The New Ad- 
ministration." [Folding them and replacing to pocketbook.] With 
this in our possession, we beat them to a frazzle ! We lick them good 
and hard, down and out! [Laughing, holding up the folded pocket- 
book in his hand.] Oh, my young colt, you and your Committee will 
soon learn what it means to cross the path of John Callman ! 

SPRINGMEYER [With his eyes on the pocketbook, gives a sphinx- 
like smile]. I am sorry, Mr. Callman, but it had to be done, self- 
preservation is the first law of nature. 

CALLMAN [Inquiringly— slightly touching him]. Will he die? 



56 THE COMPROMISING PHOTO 

SPRINGMEYER [Full of meaning]. That depends . . . 

CALLMAN [Thoughtfully]. I hope not, for your sake. If he dies 
and his people find it out, they will see to it that you are arrested 
. . . as an accomplice in murder ! *• 

SPRINGMEYER [Quickly]. I am not afraid of such fry, but 
... I fear Miss Kitty . . . She loves this dog! . . . 

CALLMAN. I would like to see Blank's face when he reads the 
names of his prospects on our lists. [Sitting next to each other, both 
closing their eyes, trying to find each others arms as an expression of 
mutual understanding.] 

SPRINGMEYER [Jubilant, digging into Calhnan's ribs]. The 
best part of the joke is that among his belongings in the pocketbook 
I have found the photograph of a woman! . . . [Smiling broadly.] 
I need hardly tell you that this is the easiest channel through which 
to hit out at this fellow. [Embracing each other in honor of their 
victory.] 

CALLMAN [Reflectively, after a pause]. But after all my friend, 
he is a single man . . . 

SPRINGMEYER [Quickly]. He is, but the woman isn't! . . . 
[Smiling broadly.] Her child is on the pheto with her . . . [Pause.] 
It will not take our detectives long to get her name and address, as 
to the rest, if we don't get any real evidence, we can manufacture it 
as easily. 

CALLMAN [With profound admiration]. They may boast as much 
as they please about trust manipulation, but when it comes to getting 
something for nothing, and making the other fellow the blackguard, 
there isn't a man among them who could beat you, George! . . . The 
pocketbook is a lasting monument for your integrity . . . the pocket- 
book is certainly some find! . . . 

SPRINGMEYER [Boastfully]. The pocketbook is our salvation. 
It is the supply train which was indispensable for our organization to 
work on. With it, Mr. Blank's defeat is assured . . . 
[Enter Charley.] 

CHARLEY [More composed, to Springmeyer who is all expecta- 
tions]. The whiskey revived him! . . . but I communicated with the 
hospital and have their assurance that Henry Blank will be kept there 
as long as our immediate needs may require it . . . Dr. X. is worth 
his weight in gold in such cases. 

CALLMAN [Gratified]. Good! 
[Exit Charley.] [Enter Kitty.] 



THE COMPROMISING PHOTO 57 

KITTY [Her bosom heaving, her face haggard, her hair in dis- 
order, looking daggers at both men]. I saw him, saw him uncon- 
scious in the next room, saw the blood streaming from his forehead 
on his face and clothes ! . . . Oh, it's awful and all for no other 
reason but because he has shown a liking for me ! . . . Oh, father, 
father, how could you be so cruel ! . . . 

CALLMAN [Hesitatingly]. It was rather hasty, I confess, but I 
was not my doing! . . . 

SPRINGMEYER [Plaintively]. If you must know the truth, I 
confess. It was on your account, Miss Kitty. He was trying to com- 
promise you while paying his addresses to a certain married woman all 
the time! We couldn't tolerate such insolence to you. Something had 
to be done and quickly! ... It was an insult to our manhood . .■ . 
and I . . . I . . . [interrupted]. 

KITTY [Enraged, her bosom heaving]. It's a damnable lie! 

[To Springmeyer.,] Oh, you monster of stone! tradesman of in- 
famy ! and character assassinator, your entire business success rests 
on it . . . 

SPRINGMEYER [Excitedly]. I demand an apology ... I have 
proofs. 

KITTY [Defiant]. Produce it! . . . [Sardonically.] Spring- 
meyer's proofs are old lies, recapitalized. 

SPRINGMEYER [Displaying photo, then handing it to her]. 
There! . . . 

KITTY [Taking photo, indignantly]. Why, this is a photo of him- 
self when a boy, together with his mother! . . . 

[Turning photo over to Callman.] See for yourself, father, can't 
you recognize the features and resemblances. 

CALLMAN [Taking photo, gasping inarticulately]. [Aside.] My 
dear, dead wife, my poor, poor child . . . [Chokes.] It . . .it 
is . . . 

KITTY [Confused]. God! . . .' What have I done? 

CALLMAN. Give me some water. I am choking! . . . [His 
left hand to his collar, gasping for breath, Springmeyer and Kitty 
both run to his assistance.] 

KITTY [Glass of water in her hand, sprinkling his face]. Father! 
Father! ... 

SPRINGMEYER. Mr. Callman! 

CALLMAN [Reviving]. My boy! ... He is my long-lost son, 
my boy, my darling boy ! . . . 



58 THE COMPROMISING PHOTO 

[The noise of an arriving hospital ambulance is heard. Call- 
man, excitedly to Kitty.] 

Go to the surgeon, child, go to him and tell him . . . tell him he 
can have my fortune if only, if only he can save my boy, save him, 
save him! . . . [Collapses, looking daggers at Springmeyer.] 

[Exit Kitty hurriedly.] 

SPRINGMEYER [Watching Callman's expression]. Kitty at this 
boy's bedside and I powerless! . . . [To Callman.] I am tempted 
to hand in my resignation, Mr. Callman ! . . . It was I who handed 
you the interesting photo, I who brought you together again, but you 
don't look grateful — not a bit grateful, after all I have done for you! 
. . . and for him. 

CALLMAN [Assuming a more pleasant attitude]. Your self- 
sacrifice on behalf of my son is aiifecting, but I wouldn't be in a hurry 
'to resign, if I were you. A business man of your type should be 
quick to adjust himself to storms he cannot control, trimming his sails 
to meet any emergency. 

SPRINGMEYER [Betraying no emotion]. After all it is the in- 
terests of the people which are paramount. For their sake, I am 
setting aside all personal considerations. I will stay, I will stay. 

[Enter Kitty and Henry.] 

[Henry's left temple is bandaged, and on the whole, he looks 
the part.] 

KITTY [Excitedly]. He knows all! . . . 

CALLMAN [Aroused, advancing towards Henry]. My boy, my 
darling son 

HENRY [Holding Callman at a respectful distance with a cold re- 
ception in look and gesture]. For years, hungry, thirsty, in rags and 
alone, have I traveled the country in search of my father, and now 
that I have found you, I could do nothing else but disown you ! . . . 
unless, unless . . . 

CALLMAN [Eagerly, renewing his efforts]. Unless, unless — say 
it, my boy, say it! 

HENRY. Unless you reform and atone for all the wrongs you 
have done. 

CALLMAN [Succeeding in touching him on the shoulder]. You 
shall have your own way in everything and I will pay the five hundred 
thousand dollar fine! [Aside.] Although it is a waste of good 
money — by George 1 



THE COMPROMISING PHOTO 59 

KITTY [Nestling up to Callman]. He has been telling me the 
wonderful story of his life and it has touched me more than I can 
say. 

CALLMAN [Caressing Henry]. My boy, my darling son, I re- 
frain from approaching the subject while you are still weak, but feel 
that there must be many things you remember which occurred at the 
time you lost your mother. [His eyes resting on Henry.] 

HENRY. Many realities of my daily life which I have faced then 
and since will seem stranger than fiction, but none of them so strange 
as our eventful meeting of identification. 

CALLMAN. True, I have searched everywhere and employed 
agents for years . . . God's ways are indeed wonderful. 

KITTY [Eyeing Springmeyer, full of meaning].' Yes, His ways 
through the beneficial influence of "The Compromising Photo." . . .* 

[Nestling up to Henry, Callman's arms on their shoulders from 
behind, Springmeyer, from a respectful distance, contemplating 
them jealously, as the curtain falls! . . . 



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